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Depeche Mode - Personal Jesus (The Stargate Mix)
Depeche Mode are an English electronic band that formed in 1980 in Basildon, Essex. The group consists of founders Dave Gahan (lead vocals, occasional songwriter since 2005), Martin Gore (guitar, keyboards, vocals, main songwriter since 1982), and Andy Fletcher (keyboards, bass guitar). Depeche Mode released their debut album Speak & Spell in 1981, bringing the band onto the British new wave scene. Original band member Vince Clarke (keyboards, guitar, main songwriter from 1980 to 1981), left the band after the release of the album, leaving the band as a trio to record A Broken Frame, released the following year. Gore took over the lead songwriting duties and, later in 1982, Alan Wilder (keyboards, drums, bass guitar, occasional songwriter) officially joined the band to fill Clarke's spot, establishing a line up that would continue for the next 13 years. Depeche Mode have been a trio again since 1995, when Wilder left.
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The biggest threat to the US Navy's aircraft carriers in the early 1950s came not from the Soviet Union, but the US Air Force. With jet-powered strategic bombers, many questioned why the Navy needed expensive carrier battlegroups at all. With the US armed forces adopting an "all-nuclear" force, the Navy needed a bomber capable of delivering a nuclear payload. The Lockheed P2V Neptune could be launched from carriers, but was too big to land. The North American AJ-1 Savage could launch and land, but was propeller-driven and too slow to survive over the USSR. Finally, in October 1952, famous Douglas aircraft designer, Ed Heinemann, delivered his latest masterpiece: the A3D Skywarrior.
The Skywarrior was, in a word, huge; sailors quickly nicknamed it "Whale." The largest aircraft to operate from carrier decks, it had to be big to carry the large nuclear bombs of the 1950s. Despite its size, the A3D was surprisingly docile, though engine problems kept it out of the fleet until 1956. It could not operate from the World War II-era Essex-class carriers, only from the later "supercarriers" like the Forrestal and Nimitz-classes. A lack of ejection seats led the three-man crews to joke that "A3D" stood for "All Three Dead." Nevertheless, the A3D did the job it was assigned to do, and rather well.
Technology rapidly outstripped the A3D, and only four years after it began operations, it was already obsolete in the nuclear bombing role--like its predecessor, it was too slow to survive over the USSR. It could be still used as a conventional bomber, and the Navy saw plenty of growth potential. Redesignated A-3 in 1962, a number of variants came into service, the most widely used of which was the KA-3B tanker.
Skywarriors would serve throughout the Vietnam War and well into the 1980s, although it was replaced or supplemented in all of its roles, primarily by A-6 Intruder variants. The Whale continued on because it could carry more than the A-6, when it came to fuel or electronics. By 1990, the A-3 was clearly at the end of its service life, and after a last hurrah with the First Gulf War, the A-3s were retired in 1991.
Dad photographed this EKA-3B Skywarrior at the 1977 Malmstrom AFB airshow. The EKA-3B could be used either as a tanker or as a standoff electronic countermeasures (ECM) jammer, using the sensors in the tail. By 1977, however, most were used solely as tankers, as the EA-6B Prowler was much more effective.
147657 was built originally as an A-3B bomber, then converted to a KA-3B for Vietnam service, then to an EKA-3B in 1968. At the time Dad got this picture, 147657 was assigned to VAQ-208, which maintained Pacific fleet refueling aircraft from NAS Alameda, California. It carries standard USN camouflage of the time, as well as three "E" engineering awards given to VAQ-208, and a Vietnam service ribbon beneath the cockpit. 147657 was retired in 1989 and scrapped in 2004, but the cockpit was preserved and is on display at the Kalamazoo Air Zoo in Kalamazoo, Michigan.
A few pictures from the Reebok x Ciroc event I was chosen to shoot at. Thanks again to Reebok for giving me this opportunity!
rjhfoto.com
A panel of experts field questions during a 173rd Infantry Brigade Combat Team (Airborne) duringa two-day Sexual Harassment/Assault Response and Prevention (SHARP) Summit, April 16-17 at Vicenza Military Community's Golden Lion Conference Center. Key VMC leaders filled the facillity to capacity during the event. (U.S. Army Africa photo by Sgt. Lance Pounds)
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Part of the Question of the Moment bulletin board set, “Would You Rather Dance with Your Parents or Spill Your Entire Lunch on Yourself in Front of the Whole School?”
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Another question is the frame registration. Some say the 120 leader is longer and others say it is shorter than the 220 leader. Since I did not have any 220 film, I cannot say. Let see if we can figure this out... I roll my own 120 film. I have some spare film and some spare backing paper laying around. What I did was run the same roll of 120 film through both the 120 and 220 back. I removed the dark slide and marked the location of each frame. In the photo, the left or blue marking is from the 120 film back. The right or red markings are from the 220 back. I lined up the start marking of the 120 film with the red start marker on both the 120 and 220 back inserts.
As you can see, the registration of the 120 and 220 back inserts are fairly close. I would attribute the difference to the positioning of the start mark and the tension of the film. I would say it is quite acceptable and twelve exposures will fit tidily on both the 120 and 220 film back.
Myth Busted- 120 Film will register correctly in a 220 film back.
- This is part of the set 120 Film in Bronica SQ 220 back. -
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
If one, settling a pillow by her head,
Should say: “That is not what I meant at all;
That is not it, at all.”
[from "The Love Song of J. Alfred Prufrock" by TS Eliot]
what is your one overwhelming question?
"...When I am alone
When I’ve thrown off the weight of this crazy stone
When I've lost all care for the things I own
That's when I miss you...You who are my home"-- Alexi Murdoch
So this is a series of tagged photos I need to catch up with (<3)
soooooooooooooooo, here we go from the first one….
I was tagged twice for the same thing…. Ask Me A Question…..and then I answer it…maybe….ok, i will….it might not be true….no, i will tell the truth…well…. :D tagged byKendra and brutal friend Jessica…. check out their streams.....
AS DELIVERED
Ambassador Rice: Good afternoon. Let me share with you a summary of our discussions on Darfur in consultations before I take your questions. Following Under-Secretary-General Ladsous’s briefing in the open chamber, Council members continued discussions of the situation in Darfur in closed consultations. In those discussions, Council members reiterated the need for all parties to immediately cease violence and engage in peace negotiations. They deplored the attacks on UNAMID peacekeepers and urged Sudan to bring the perpetrators to justice.
The Security Council underscored the importance of UNAMID’s core mandate of protection of civilians and supporting humanitarian access. They expressed concern about the continuing instability and escalating violence in Darfur and the humanitarian conditions. Council members welcomed some positive steps in implementation of the Doha Document for Peace in Darfur, including the creation of some new institutions, but they expressed concerns about delays in making these institutions effective.
Council members regretted that non-signatory armed movements remain outside of the process and urged all efforts to persuade armed groups to negotiate with the government and for the government of Sudan to be open to such negotiations. Security Council members noted the importance of including Darfuri stakeholders in political and peace processes while also noting that there must be freedom of speech, freedom of movement, respect for human rights, and a general climate of security.
Council members expressed support for the Secretariat’s efforts to increase UNAMID’s efficiency and effectiveness and emphasized the need for UNAMID to have full freedom of movement and access throughout Darfur.
Reporter: Madame ambassador—president for a few more days. I wanted to ask you, actually, about Syria and the latest violence in Hama and whether the U.S. has any more information of how it might have started and its implications for the ceasefire.
Ambassador Rice: I’m not in a position to offer details on the violence in Hama today. I presume you’re referring primarily to the collapse of—the tragic collapse of the building in which scores were killed. It would appear that that was the result of intense shelling, but I’m not in a position to say that with certainty. We condemn what remains the government’s refusal to abide by its commitments, its continued intense use of heavy weaponry in Hama and elsewhere, which continues to result in large numbers of civilian deaths every day. This is precisely what we have been concerned about. It is further indication that the government is ready to make commitments and break them just as swiftly, and it certainly casts further doubt—where there was already a great deal—on the government’s readiness to implement the core elements of the Annan Plan.
Reporter: Madame Ambassador, how soon could the Security Council have a resolution that would be intended to support the African Union communiqué the other day? And is it something that we could see maybe this week?
Ambassador Rice: We—the United States—introduced a text that will begin to be discussed for the first time this afternoon. Most Council members are just receiving it, and obviously it’s a text that will require input from capitals and, I think, at least a few days of discussion. The intention of the text was to provide swift and substantive support to the decisions of the African Union, in the form that the African Union requested, but there were some members who either need more time to get guidance from their capitals or who are skeptical of the wisdom of going directly to a resolution. So we’re going to have further discussions, and we’ll see where we end up. I can’t predict on timing. From the U.S. point of view and I think from the point of view of many Council members, this is extremely urgent, and the Council ought to act with the speed that it’s capable of in urgent situations.
Reporter: On Darfur, on UNAMID: How likely is the Council to grant the reduction of forces that the Secretariat is asking for? And will the Council have some sort of consultation process with the African Union on it?
Ambassador Rice: The Secretariat has engaged with the African Union in formulating its recommendations. This is a subject that we’ll take up formally when we renew UNAMID’s mandate. I did not hear a great deal—maybe one or two countries raised a few questions about the proposed configuration—but I didn’t sense any broad-based concern or skepticism. But we’ll come back to this in detail as we do the mandate renewal. And I think—as you know, the Council has annual consultations with the African Union PSC. They tend to happen in May/June timeframe. I suspect that we’ll follow that pattern. They would be here in New York this time, and I’m sure that Sudan will be among the issues on the agenda. But there wouldn’t be any other formal mechanism for Council to Council consultation.
Reporter: On Darfur, Ambassador Sangqu of South Africa just said he’s at least concerned of this idea of reducing the force size, such that there could be kind of a backlash. I think it happened in East Timor, for example. At one time, the UN pulled out. Does the U.S. think that things are going as well in Darfur as it seemed that Mr. Ladsous was saying, that—at least in the north and on the borders? And on Sudan / South Sudan: I’ve heard that the U.S. ambassador and other ambassadors are going to actually visit Heglig and see the damage. I want to know if that’s true and how that relates to the issues in your draft resolution and in trying to get the two parties negotiating. Do you think that this—I’ve heard that it’s as much as a billion dollars of damage or long-term repair. What’s the relation between that fact on the ground and what you want to see the two parties do?
Ambassador Rice: Well, on Heglig, I think it is the case that the government in Khartoum was trying to organize to take some diplomats down to Heglig. I don’t—I think what is clear is that there has been damage. I don’t know that we have reliable cost estimates on that. What is most unclear is how the damage was caused, and I discussed this the other day. There are multiple ways that this could have been caused by the fighting between the parties, by sabotage, by either or both sides, or indeed by aerial bombardment, which was utilized by Khartoum in trying to dislodge the SPLA forces from Heglig—or maybe come combination thereof. It doesn’t factor directly into the draft we’re discussing because the draft is really primarily focused on reinforcing the African Union decision of a couple of days ago.
Going back to Darfur, remind me again of what—
Reporter: There’s a concern expressed by South Africa and maybe others that, if you pull out too quickly, you might have to go back in as took place in Timor Leste.
Ambassador Rice: Well, first of all, from a U.S. point of view, we’re hardly sanguine about the security situation. We see that the violence is escalating in four or five regions of Darfur, and we’re particularly concerned about North Darfur and Jebel Marra. So this remains a very insecure, very serious situation. The way we understand the proposals by DPKO is not to really think of it as a downsizing but, rather, a right-sizing so that the personnel that they have are ones that are, first of all, optimally equipped and trained. There’s been some issues with that, I think you know. Secondly, that the police component is configured to be maximally effective and to be deployed in areas where they can have the greatest beneficial impact in terms of protecting civilians. There have been issues with air assets having been grounded by the government—underutilized—so I think they’re trying to address those as well. So, obviously the Council will have further opportunity to delve into these recommendations, as I said, when we do the mandate renewal. But certainly from our point of view, I don’t think it’s correct to view it as a downsizing but, rather, trying to align the personnel resources and equipment on the ground with the needs as they are today, as opposed to when the force was originally mandated.
Reporter: Madame President, the French Foreign Minister threatened today to demand international intervention against al-Asad if the peace plan in place seemed to fail and gave until the 5th of May when Kofi Annan is supposed to report to the Council for it to work. Since it’s no secret that you work very closely with the French and that you yourself said that you’d be assessing this plan continuously during the first 90 days and that the renewal is not automatic, nobody should assume that—does that reflect the United States position as well?
Ambassador Rice: No. I don’t speak for France, much as we do consult and coordinate, and I can’t do so now. But let me say this—that our position has been very clear. We have been skeptical from the outset as to whether the Asad regime was prepared to implement its commitments. We were very sober in taking the decision to augment the observer mission and send out the full complement with the hope that the presence of observers would have at least a minimal salutary impact on security where they were able to be. I think that remains very much an open question. Particularly, we will want to see the extent to which they are able to move about freely, to which their presence contributes to a better situation. I have underscored in my remarks here at this stakeout and in the Council, as has Secretary Clinton on a number of occasions, that the United States’ patience is exhausted, and we are going to be watching very carefully to determine if this observer mission is having the impact that we all hoped it would, even if our expectations were low. And if it isn’t, we will be very ready within the 90-day period to come back to this Council and discuss what pressures ought to be applied. We have talked about the importance of this Council being prepared to consider sanctions in the event that the Assad regime continues to violate every commitment it makes.
Thank you.
###
April 26, 2012
Just kidding :D - Don't take it serious! - - - This one was lying around in my archives for toooo long. And I always wanted to post it here.
sooc...
Copyright © 2011 Stephan Klassen / Styopan. All rights reserved.
All your questions about "things", all your presumptions about being the body, are nothing but babble. The Real Matter is to Wake Up and Realize Me. So why ask Me about your "objective" and "subjective" wanderings of mind?
I already did this one year ago, but I did change a little so I decided to do it again ;p
Random Questions:
_______________________________________
Fave color? Orange and Blue.
Biggest dream? I don't really have one, though I think it would be awesome to be able to bend elements.
Lucky or favorite number? 7 and 2.
Celeb crush? Marthe De Pillecyn xD I don't even know if you can call her a celeb, but most Flemish and Dutch people will know her.
Sexuality? Straight. I've already had a girlfriend so I'm pretty sure I'm straight.
If you could meet anyone on earth, who would it be? Marthe De Pillecyn ;D
Middle name? Daniël.. I know it's ugly ;)
Believe in love at the first sight? Not really to be honest.
Allergies? I have an allergy for some kind of glue.
Addiction? F.C. De Kampioenen and Minecraft.
Fave serial killer? I don't really have one, though I do like to watch Horror/Thriller movies.
Birthday? 03/09
Best friends? My ex-girlfriend, two of my friends I met when I was 2, and a friend I met 4 years ago. (All of them are girls, 'cause I always feel like I can tell much more to them. I also have a lot of friends that are guys, but I don't think they're thé friends for the rest of my life)
Fave food? Pizza from Dr. Oetker.
Milkshakes or yoghurt? None.
Cheetos or fritos? Cheetos.
Favorite social media site? Facebook, Flickr and Youtube.
Current mood? Normal.
Age? 13.
Have you ever stolen anything? When I was little, I've stolen some stuff for my dolls.
When did you get your first kiss? I think when I was 4, but I'm not sure. But i did get my first kiss around that age.
What is the weirdest food you like? It depends on what you call weird, though I mostly only like Belgian and Italian food.
Have you ever cheated on somebody? No.
How long have you waited before you took a shower? I take a shower everyday, so i took my last shower yesterday.
Ever been in love with 'just a friend'? Yeah :/ At the moment I'm in love with a girl of my class, but we're just friends... :( :p
How many girls have you dated? Only 1 I think.
What is your favorite movie? The movies of F.C. De Kampioenen, The Conjuring and Interstellar.
Do you remember a lot of your dreams? I only remember my dreams when it was a nightmare.
What do you like about yourself? I'm pretty good in learning languages.
What is your favorite sport? I don't really have one ;p
Do you smoke? Nope.
Do you drink? No, I'm only 13 lol.
Do you like to play video games? Hmm.. I'm not really sure, but I do like to play Minecraft :p
What do you think of Valentine's day? It's a normal day to me.
How do you feel about tattoos? They're okay.
Do you like anyone? Yes ;)
Have you ever broken a bone? Yeah, already 4 times.. :'(
If you could live anywhere, where would it be? I don't know. Belgium is fine for me ;D
What is your biggest regret? I don't really know :p
If you could change one thing about yourself, what would it be? I hate that I cry pretty fast.
What was the name of your favorite toy as a kid? Playmobil, Barbie, Winx and Lego. But I'm pretty sure I started liking that girly stuff because my best friends were girls. Because I also really liked to play with toys for guys with my older brother.
What is the name of your favorite sugary cereal? I don't really eat cereal, so i have no idea.
Boxers or Briefs? Boxers.
Do you like cheese? Yep.
Who are you talking to right now? Nobody.
When did you go to sleep last night? I think it was something around 1:30 am.
Do you have armpit hair? No xD
What is your favorite TV show? F.C. De Kampioenen, Avatar The Last Airbender/ The Legend of Korra and Hallo k3.
What is your longest relationship? 5 years.
If you could travel anywhere in the world, where would it be? I'd like to go to Scandinavia one day.
Favorite song(s)? Can't be tamed by Miley Cyrus, 10.000 Luchtballonnen by K3 and Smoking Gun by Natalia.
What do you want to be when you grow up? I'm not sure yet.
What is the naughtiest thing you've ever done? I don't remember xD
What is your favorite animal? Cats ;D
Would you rather have love or a million dollars? Both lol.
How many kids do you want? 3 or 4.
Do you like messages? Yes haha :D
I won't tag anyone. If you'd like to do it again too, you can always do it. You don't need to be tagged :p
Three hundred Pontypridd students to put politicians on the spot
03 November 2011
Four National Assembly Members will be put on the spot on Friday 4 November when around 300 sixth-form students take part in a “Question Time” event at Hawthorn High School in Pontypridd.
Mick Antoniw AM, Andrew RT Davies AM, Eluned Parrot AM and Leanne Wood AM will be questioned by the students – who are from three Pontypridd secondary schools - on topics including recycling, health, the economy, education and the environment.
The event will be chaired by Dilwyn Young-Jones, South Wales Education Outreach Officer for the National Assembly.
www.assemblywales.org/newhome/new-news-fourth-assembly.ht...
Gwleidyddion i gael eu holi gan 300 o fyfyrwyr o Bontypridd
3 Tachwedd 2011
Ddydd Gwener 4 Tachwedd, bydd 300 o fyfyrwyr chweched dosbarth yn holi pedwar Aelod Cynulliad mewn digwyddiad yn Ysgol Uwchradd Hawthorn ym Mhontypridd.
Bydd y myfyrwyr, sy’n dod o dair ysgol uwchradd ym Mhontypridd, yn holi Mick Antoniw AC, Andrew RT Davies AC, Eluned Parrot AC a Leanne Wood AC ar bynciau a fydd yn cynnwys ailgylchu, iechyd, yr economi, addysg a’r amgylchedd.
Caiff y digwyddiad ei gadeirio gan Dilwyn Young-Jones, swyddog allgymorth addysg y Cynulliad Cenedlaethol yn ne Cymru.
www.assemblywales.org/cy/newhome/new-news-fourth-assembly...
Montreal (Qc) CANADA - July 14 2010 Pamela Anderson answer question from Montreal's media about her PETA ad
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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.
Years ago I was gifted a Simmons sofa sleeper...and what a fine sleeper it was! Unfortunately, that great Simmons quality has not been carried over. The feet are plastic, the fabric is thin and cheap, and the design...oh the design is a nightmare.
I purchased this sofa in June of last year, and less than 8 months later NO ONE will sit or sleep on this horribly uncomfortable piece of junk. The main problem is the design. The cushions, which should be supported by the couch that folds down into the sofa, literally squish down into couch, pinching the skin behind your knee between the wide board and the cushion front. While it doesn't sound too bad, watching a 2 hour movie is out of the question...and forget sleeping on this monstrosity. Joe at 2K offered us new cushions...the cushions are NOT the problem here. Even the mattress which claims to be 4.5 inches thick is only about 2.5 inches thick and sleeps like a cement slab. We checked the couch over and WERE UNABLE TO FIND A SIMMONS TAG.
Then there are the sharp screws that are sticking out here and there. IF YOU HAVE SMALL CHILDREN YOU DO NOT WANT THIS COUCH IN YOUR HOME.
My husband and I have tried to come up with ways that we could "rehab" this couch, but all the materials are so cheesy and cheap that altering it in any way would more than likely make it fall apart.
I contacted the seller, Joe at 2K Furnishings, the DAY I bought this couch, June 22nd of 2012. Now, on January 7, Joe is still ignoring our requests for assistance, first advising us that he will file a claim on our behalf, then telling us we need to contact Simmons directly. I spoke with someone at Simmons and was told that we need to file directly with the seller. The correspondence between myself and 2K is a mile long and goes back to the day I bought the couch....one brush off after another. Of course, stall tactics worked and it is beyond the time that 2K is obligated to refund our money. Even Amazon is unable to help us because 2K is third party vendor.
Bad furniture, bad seller. Bad bad bad all around. I will be submitting pictures. I will also be posting my review to Youtube, FaceBook, Flickr and Pinterest. I am VERY unhappy. Do yourself a favor...don't even think about buying this couch.
If I had paid 300 or 400 dollars for this miserable pile of bolts and cheap flimsy materials, I really wouldn't complain. But I paid 900 dollars. Now I know this is NOT a $5000 couch, but seriously, I should be able to sit AND sleep on this couch.
NRC Chairman Allison Macfarlane questions agency staffers during a briefing on issues facing the reactor regulation program over the next five years. Macfarlane and her commission colleagues spent nearly an hour posing questions to staffers after a detailed briefing on the issue.
Archived webcast of the 07/10/2012 Commission Briefing at video.nrc.gov/.
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All of the holiday marketing tells us that Christmas is a time for laughing with family, beautiful people and cashmere sweaters. But the holidays can be more complicated; they can bring up difficult issues. And that’s OK. This church used The Beatles’ music to help ask some big questions and then looked to Scripture for the answers.
The visual branding for this series tied several themes together—Christmas, music, vintage and The Beatles.
Items produced:
11″x17″ poster
3″x2.5″ personal invite card
11″x8.5″ bulletin shell
4:3 in-service graphics
Web and e-mail graphics
Status: Completed Project
Questions/Branding: Mobley Sans is a male, probably in his late 20’s or early 30’s. I would think he is sophisticated and creative, but also a sort of hipster, like a hipster 10 years ago before it was “cool”. He would wear lots of blacks, browns, and desaturated colors, and would own lots of sports coats. During his day-to-day life, he would wear orange/brown corduroy pants and some dark brown, fancier loafers. Mobley Sans would be a Jazz Bar, serving cocktails and rich desserts. The typeface is based on letters from a 1960’s jazz album, hence being a Jazz Bar. Due to the heaviness of the letterform, I picture it being low light with rich, heavy desserts and lots of cigarette smoke in the air. I picture it being a more upscale establishment but still a little dingy or messy since the cigarette smoke has probably seeped into the walls and drinks have been spilled to make the floor a little sticky. The only food they serve would be desserts because people would go there late at night after dinner for a nightcap while they enjoy some live Jazz. The rich, chocolatey desserts would feed into the sophistication of the Jazz Bar.
My signature dish to represent Mobley Sans is a layered dessert, with a crisp chocolatey base, almond dacquoise layer, mocha cremeux, and topped with a mascarpone cream. The base is rich with chocolate flavor and has a crispness to balance the smoothness of the mocha cremeux. The almond dacquoise layer is a light and crispy meringue-like layer. Above the dacquoise is the mocha cremeux. This layer is dense but soft, with rich chocolate flavor and pudding like consistency. The mascarpone cream on top is light and slightly sweet, which balances the richness of the mocha cremeux very well. Mobley Sans would sell this dessert at about $8 a serving, so slightly high-end pricing but enough of a serving to share with a date. The Jazz Bar would have lots of textures in their Bar, with dark textured wallpapers, wood stained dark tables, with gold accents on the chairs and as centerpieces on the tables. Decorations would be simple but sophisticated, with dark browns and creams, and desaturated oranges, reds, and yellows throughout. You would receive a simple, but soft, dark brown napkin and gold fork/spoon with the food and drinks that you order at Mobley Sans.
Criticisms: The almond cake layer was a little burnt. I tried making a mold but it didn't work, so I'm going to try another way to make a mold because it's too hard to cut by hand. Moving forward, I'm going to make a mold to use and change the order of how I actually prepare it so that all 3 layers hold together better.
Oral Question Period on the first day of business for the Third Session of the 28th Legislature. November 18, 2014.
U.S. Secretary of State Hillary Rodham Clinton responds to questions during a Q and A session after delivering remarks at the Munich Security Conference in Munich, Germany, on February 5, 2011. [State Department photo/ Public Domain]
From what I can gather, this sticker is advising that when a dutch bike and some crappy headphones make a collabo, the result is some sort of parking meter / tombstone amalgamation.
my sister and I began taking pictures of this piano shortly after 1pm.... we both have the same camera..... we took these pictures to capture this piano ransacked by retarded kids.... what we captured is unreal... I have kept this picture on private view for several days, waiting to add io it with a better explanation.... I can't. This is what I got... my sister will be adding her pic at the same time and angle within the next couple day..........