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A few nights ago Kimberly and I were watching football on the couch. As I looked at her then she looked the most beautiful that I have ever seen her––not for any particular reason––because I love her. I decided to try to capture that, which I did not do just here, but I share with you the beauty of my future wife.
•sooc• (except from straightening it because things like that get on my nerves when it's my own photo)
Anyway, long time no talk...
Hello there. I'm back to sharing my photography with you. And I'm really excited about that.
I took an unexpected break from art last year, I don't know how it happened. I started high school and made new friends that took up all the thoughts and room I had in my head that used to be devoted to making and creating things.
I took a film major which I came to be unsatisfied with, mainly because the other kids in my group weren't as serious about it as I was and I felt as if they were pulling me down. I was unhappy with the process or the creations I did there and it made me frustrated which, along with what I stated above, let me to a stop.
Fast forward to now. Is year we got the option to choose if we wanted to stop majoring in film and transfer to photography. 40 kids tried out, and I wasn't one of them. I was scared and disappointed in myself and I thought "well, why go through all the trouble with transferring. Suck it up for another two years in film, don't be significant {i.e pic a job that doesn't require much work, thought and impact on the finished project}, sit on the side and let everyone else do the work and just get this all over with.", I pretty much just gave up.
What changed is that in film we got an assignment to bring a photo to class that answered all the point of "high concept", i bought in a photo I took in Scotland over the summer. The teacher projected all the photos on the screen and when she got to mine it was one of my proudest moments. I finally came to the conclusion that I my true passion is photography and not film. I finally appreciated how happy I felt while displaying my photos and sharing them with people.
Later that day, I sent out an email to the teacher and asked her if it was too late for my to try out for film. She replied and said that i'd come to meet her during break the next week to show her some of my projects.
I completed the assignment everyone turned in for their try-outs. I was just so happy in the process and so proud of my work.
I got in (along with 15 other students out of 40 that tried out). It was probably the best decision I ever made.
We have to take photos pretty much every week which is challenging in a good why because you always get to look for new, different and interesting things to bring to class.
This year we are focusing on Documentary Photography which is very new to me and I am so grateful I get to explore it.
So yeah this is my story, I doubt anyone read up until here but I enjoyed writing everything down.
I'm going to upload stuff on here a lot more frequently and I'd love to follow some new people (:
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.
Because Acadia's coast is young, sandy shores are rare. However at Sand Beach, the park's largest feature of this type, shore currents have shifted the tons of sand that the sea eroded from the rocks.
Le Chemin de Fer de la Baie de Somme (CFBS) metre gauge 0-6-2T No.3714 'Beton-Bazoches' built by Buffault et Robatel, Lyon (W/No.3714 of 1909) to a Corpet-Louvet design. No.3714 was built for La Societe Generale des Chemins de Fer Economiques (SE) Seine-et-Marne network, mainly to haul sugar beet trains on the Nagis – Jouy-le-Chatel line. The loco is pictured at Noyelles running around its train, 3 May 2023.
The curious design of cab - open at the front and enclosed at the rear with two large windows - was because the loco was designed to run in reverse! The two large windows at the rear gave excellent visibility which was deemed essential for street running through the villages Marne.
National Museum, Beijing
July 2012
China
Anyone know where i can get my hands on some Chinese security/military sneakers? They looked mighty comfy and less bulky than your average army boots
Urban life
Canon 550D
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them..
Sadly, I cannot remember her name, but I recently saw a stand-up comic whose words keep coming back to me. She was talking about masturbation but the point she made struck me as totally describing my relationship with photography. She said she could never get a sexual fantasy to reach fruition because... in her mind... she kept endlessly revising what she wore. And I'm so much the same with photography. I'm so obsessed with setting the scene (and it's never quite right) that I manage to (surprise) avoid shooting altogether. Which is ridiculous and absolutely must stop. Now.
So here's my new strategy - going back to doing things the old fashioned way. By which I mean strapping on my camera, heading out into the world, and seeing what I can see. These oyster catchers were lit in such a way that I couldn't really see them through my camera, so I just kinda shot in their direction. They're so damned cute, it's hard to get a bad picture of them. So yeah... I shot herons and fish and sea anemones and rocks and trees and dried up salt in tide pools. And... no, it wasn't amazing. And no, I didn't get any good shots. But that was not the point. The point was to stop trying so hard and just enjoy the act of shooting for its own sake. (Goodness knows I have enough other things to obsess about. Taking the trying out of photography opens up its therapeutic benefits. Which I really need right now.)
Because of the great fire wall of Chinese policy, it's so hard to cross the limit to visit flickr, so I could not reply my dear friends, I'm so sorry about that and please forgive me,thank you so much and hope my friends can still hit on me！由于中国网络原因，访问flickr很困难，速度很慢，所有暂时没有办法一一回应各位好友，请朋友们见谅！还请各位好友继续关注我！
My pro account is out of time，thank you my friends here for supporting me what a long time！！May I have a pleasure to receive a pro gift from you？我的pro账号到期了，感谢朋友们长期以来的热心支持！！有好心人能赞助一个pro账号给我吗，在此先表感谢！！
If you want to use or buy this image，please contact me. 版权所有，转载请联系本人。
Because it makes a dandy flower vase, can be used to carry water or sweet tea to the hay field, in a pinch it can be used to can food from your garden. Some times it's even been known to hold a quart of liquid lightnin', There are a thousand other uses also.
Normally, I don't photograph spiders, because I don't like the little creatures at all. They creep me out.
But this one was sitting at the right time and on the right spot, so okay, I allow one spider on my photostream...
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view on black (press L)
Because of the national Flag of Bangladesh, red & green has become the symbol of the nation. These two colors represent the history, the culture and the natural beauty of Bangladesh in a simple yet heart-touching manner. Red; the color of the sun, the color of blood, the color of joy and zeal. The Red represents the rising sun, a symbol of rising above all others. It also represents the blood of those who dared to revolt against the Pakistani oppression for the independence of Bangladesh. Green; the color of life. It represents the lushness of the land of Bangladesh. When flag of Bangladesh flies high, the red & the green will always make us bow our heads down.
Because I love feet, and bricks.
That vein in my foot pops out a lot...
Yesterday was faaaaantastic, we got Ralph's and drove around town and ate pasta and it was great. Young Life was amazing too, it was all-in-all a good day. :)
I don't really have much to say, I just felt the need to upload.
I dunno.
Shmeh.
{32} I think my feet are my favorite part of my body.
Now, because I´ve been tagged for the second time and because my friend Salman Yaqub Cheema (Salman!) asked me, I put my picture here in flickr....and as you see not just the half of my face!!! ; )
So now I have to tell 10 things about my habits or the things I like or hate about myself...so here you go.
1. I´m not very feministic. I got short hair and I like hard sports.
2. I´m very comprehensive person, so I´m very useful in life...maybe
3. I really don´t know how to say no sometimes
4. I try my best to be a very kind and happy person and just light the others day.
5. My jokes aren´t really funny and I think nobody else understands them.
And the other bad thing is that I´m the only one who laughs at my jokes xD
6.I´m in love with nature. I like all kind of animals and I don´t scare to touch or to take so called "scary creatures" in my hand or near me.
7. I´m the laziest human being in the world. Well, when it´s about cleaning my room xD
I really don´t like to clean it, because I know that it doesn´t take long before I don´t know where are my things. I throw my things all over my room and the next thing is that I ask my mother does she know where´s my schoolbag or my clothes.... : )
8. I like to talk to people so I´m very social. I really don´t care with who I´m talking with (just a little bit).
9. I can sometimes be very annoying. Particularly when I haven´t slept very well.
10. I´m a friend to all of people. I don´t look what kind of you are outside I care about what´s inside you : )
I really feel like a Jesus now, do I ; )
Hope you believe these things! xD
The next person who I tagg is my very good friend MiikkaIlmari.
See ya someday....have a wonderful day everyone! : ) <3
© All rights reserved.
Eagles always look like they're angry. Maybe they just don't care much for all the paparazzi? Anyway, we who take their images are very glad to see them.
Ok so it all started when I was born - literally. My parents were young when they had me, just 19 years old. My grandparents got guardianship of my brother and I when I was about three years old. My family has a history of mental illness on both sides, so I was "doomed" naturally. Schizophrenia, bipolar, manic depression, all disorders someone in my family was diagnosed with. My maternal grandmother is manic depressive, and things were very difficult growing up because it wasn't addressed. She didn't believe in therapy and thought that nothing was wrong. Therapy was only for "messed up" people, and she had an extreme stigma about it. There are so many instances of verbal and emotional abuse towards my grandfather, my brother, my mother, and myself. But if you spoke up, it was even worse, you wouldn't dare speak up against it. It was always better to endure it and hope the next day would be better. She was, and still can be, very unpredictable. You'd think everything was dandy, until it wasn't. Things could switch in a moment into a screaming, "you-don't-care-about-me-how-come-no-one-cares-for-me" mess. I never wanted someone to ever go through that, or to feel like they couldn't speak up. I was often the one to speak up, so my grandmother and I would fight often. Hence, the anxiety, people-pleasing, wanting to always keep the peace mindset that I have as an adult. She's always needed help for her mental health, but you can't make someone do something they don't want. If they won't address what's hurting, things can't progress.
My grandfather, my grandmother, my brother, and I tried going to group therapy once. It didn't go well, and was entirely unproductive in creating any change. The time was spent with my grandmother asking why she was always the bad guy and how no one ever talked about how they hurt her, and essentially made for a bad time for awhile at home. I did go to counseling in school for awhile, but it was in a group setting so it wasn't as exclusive as going to one-on-one therapy. As a teenager, I did got to therapy for a little bit, but I stopped going because my therapists kept leaving for other practices. And I felt like I was "fine". Plus, what good does it do when you live somewhere that's always stressful and you feel like you can't really talk about your feelings anyways? I didn't want that for my life, ever. I knew that I wanted to be different. I was always sad as a kid that I didn't live with my parents. I never had an answer when people asked me why I didn't live with them, honestly I still am not sure completely why I didn't and I'll be 29 this year .
My mother ended up having a drug addiction problem when I was in sixth grade. My mother is also bipolar, although I don't know exactly when this was discovered. My grandmother hated my dad, for whatever reason. So I just had no pull in my desire to want to live with a parent. My mother had always been around, and she lived with us and my grandparents at times. I saw my dad on the weekends and holidays. In the beginning of her addiction, my grandparents got emergency custody of my brother Jacob. So now they were raising three kids. When my mother made the decision to get clean from heroin, I was about 11 (I think, not sure of my exact age). I loved her so much, and I'll always remember driving down the road with her one day as she was crying and saying "I love you, you know I do, right?" I was the one sitting with her in the bathroom while she went through withdrawal. It was hard to see my mother so sick. I stayed by her side and slept in the same room as her at night because I was so happy she was back home. I also went to NA and AA meetings with her. I liked the cookies and snacks they'd have. I really had no business being around so much adult information at my age, but as I see it I was the support in my mother's recovery, because everyone else was just mad at her. Naturally, it makes sense that as an adult my mother uses me as support often. She's better now and has been clean for over 10 years.
Eventually, I did get the chance to live with my father and my step-mom the summer before seventh grade. For whatever reason, my grandmother had a moment and agreed to let me live with them. I was ecstatic! I remember hopping onto the computer and instant messaging my step-mom on AIM. I lived with them from the beginning of seventh grade to halfway through my freshman year of high school. Living there was such a change from what I was used to; more routine and structure, more "normalcy". I moved back in with my grandparents halfway through my freshman year of high school. Around that time is when my father was really starting to struggle with his mental health (that I know of). There was one night I remember he got so angry that my step-mom and I went in the basement with our dog. He'd torn off the keyboard holder from the computer desk, ripped the sliding door off the track, and threw the board into the pool. He wasn't going to hurt us and I think we knew that, but he was just SO aggressively upset. I remember he left and that night I woke up to the sound of him crying in the bathroom pleading to God. He got diagnosed bipolar around that time. I didn't leave because he was struggling, but because I felt like me being there was too stressful and I missed being with my grandparents. Things were still the same when I moved back in, it's like I never left. I think part of me is always going to feel guilty for leaving my brothers there, even though getting out made such a change in me.
I met a junior boy, C is what we will call him, when I moved back. He was my second boyfriend. I'd only dated one person when I lived in Leominster, and it wasn't for long. I didn't really know much about dating, or sex, or how any of it worked really. I feel like I just figured out a lot of it on my own, leading to many poor decisions. Part of the issue is that my grandmother believed that any talk of sex, birth control, or even asking to be on birth control would automatically lead to pregnancy. And most of what I saw growing up was not-so-healthy relationships. C broke up with me shortly after I made the decision to have sex with him, through a note, passing me in the hallway to lunch. One of my first poor decisions, and it got worse because my grandmother found out about it and threatened to bring him to court for statutory rape. For whatever reason I thought that having sex with someone meant love. I don't know where I came up with that, but it was what I thought mattered. And I also couldn't stand to be alone, I somehow put all my worth in being with someone else.
A few boyfriends later, I met P at a little music release basement party for a mutual friend. We were a hit instantly, and I completely ignored all of my friends when they told me the next morning to not get involved with him. Another poor decision. We became boyfriend and girlfriend. I was with him for 3 years almost. We smoked a lot of pot, he skipped a lot of college, he would call out of work to stay with me. My grandmother would call me out sick from school so I could spend a week with him at his dorm in Boston. He practically lived at my grandparent's house with me at one point. It was very toxic. We were very clingy to one another and I had no freedom. I couldn't even really hang out with my friends if he wasn't there too. He didn't like when I colored my hair without asking. One time, I dyed it black without asking and he screamed at me for a good hour through the phone. My friend that was with me had to answer the phone at one point and tell him to stop calling. All my worth and who I was was determined by him. I wanted to stretch my ears but didn't because he got upset and told me that I only wanted to do that so I could fuck his friends. He was extremely emotionally and verbally abusive, narcissistic if you will. And he needed help with mental health, yet another non-believer of therapy in my life, and meds would just make you a zombie so forget that.
When I got to college, P had failed out of New England Institute of Art and ended up at The Mount with me. This was problematic. We had a lot of the same classes and friends. I ended up getting very close to another guy, A, who showed interest in me being who I wanted. I remember being told by A that I was being treated like property. I wasn't happy with P anymore, but I didn't know how to leave. I ended up cheating, which is absolutely against my morals. P found out because A was angry I wouldn't leave P and told him everything. It was a nasty breakup and there was a lot of fighting. We had all the same friends and so there was some division and tension. I failed out of college because I skipped classes so I wouldn't have to see him. But even after the breakup, P found a way to always be involved in my business.
While I was dating P, I stopped talking to my father for about a year. My father was trying to look out for me in a particular circumstance and went to P's house on his lunch one day to talk with him. I was a dumb teenager so I chose my boyfriend over my father. During that year my father tried to commit suicide. I only found out because of someone anonymous on the internet. My father did not succeed and is much better these days.
After P, I had a lot of small relationships. I was trying to find myself and who I wanted to be. I stretched my ears. I went to a lot of shows, and I did get to live with my mother by the way, when I turned 18. Things were hard and she didn't exactly like who I was. A lot of criticism for my boyfriends, who I dated, who my friends were. Because I was already an adult, her trying to parent me didn't exactly mesh. I smoked a pack of cigarettes a day. I was very stressed all the time. I lost my best friend after P, but I also was so caught up in myself I didn't see how awful of a friend I was. She even ended up dating P for a few years, and that was very hard for me. I never took accountability. I was an anxious mess, that couldn't just be by herself. A lot of my relationships felt like I was a "light" for the other person who was looking to fill a void or get over someone else. And even knowing that so many times, I'd just stay sometimes because I was "needed".
Eventually, I would meet my now husband Joe a year (roughly) after P. Joe and I were best friends first. We knew each other first, and hung out as friends first. He would drive from Dracut to Athol almost every day, that's like 2 hours just to get to me, then 2 hours home. We would sit in my room and watch Friend Zone on MTV (how fitting, right?) One day we found ourselves just casually holding hands. This was new for me. I didn't see it coming. Our relationship crept up and blossomed instead of my usual just jumping into a relationship. Joe was the only one to ever stand up to P and tell him he didn't have a place in my life anymore. The only person where I never doubted if I was just filling a void from someone else. Joe cared about my interests and what I enjoyed, and has continued to throughout our 9 year relationship. He showed me what being valued as myself was like. This is love. And I am grateful, because he gives me space to figure out who I am and change if I feel like it.
The lesson from this is that I finally learned that I was enough as me. I didn't have to try to be anyone's ex, I didn't have to try to be anyone but myself. I learned that I had value as a person, and that I could be who I wanted, because I WANTED to be that person. I could be a light in someone's life, without putting out my own light. I learned that my body was not the only thing someone should want in a relationship, and that sex does not mean love. And most importantly, I learned that I didn't need to fill a void in someone, or try to have someone to fill a void in myself. Things don't work that way. You cannot fix a person, you can only be there for them. As far as mental health goes, my intention was always to break the cycle and take care of myself. I knew it from very early in my life. I mentioned that I stopped going to therapy for awhile. Two years ago I did start going to counseling again. After having our second child, I realized that I was really struggling and things were getting hard, I felt like I was falling apart inside. I couldn't cope strictly by myself. Last year I was diagnosed as bipolar 2. My counselor knew a bit sooner than when he told me, but I respect his reasoning. When he diagnosed me, he said that he did not tell me right away when he knew, because he knew that I would have been devastated, since he knew I did not want to be like my family. But I am not like my family. I love my family, and they are not bad people, they just needed help. I am the change in the cycle. I wanted better and I am creating better. I want my children to know stability and that mental health is as important as physical health. I am still working at being better every day, I will always have to, that's okay. I am open, I am accepting of myself, I know healing isn't linear. In healing, I have learned forgiveness.
The Bricklayer's Arms English Pub Shoreditch London Corner of Rivington Street and Charlotte Road EC2 Still Closed because of COVID-19 CoronavirusCOVID-19 Coronavirus
It was the year of 2030. Liam McLovin called Karl Leijon, the leader of DM, because he got an important call from an important customer. They met with a lady that called herself "Diana" in the BMI headquarters. Diana came from a company that was called "ICA" (International Contracts Agency). Karl Leijon reacted on the name and first thought "Why would a convenience store need a weapon". Ica is apparently a store in Sweden.
Diana talked about making a new type of custom sniper rifle for the ICA agents. It should be easy to disassemble for carrying in a suitcase, be silenced and have a big scope.
Liam and Karl thought long about how the weapon should look and function. They thought for 2 years and came up with a few sketches. In 2035 the weapon was done. Diana didn't show up, instead some bald guy with some barcode in the back of his head came. He picked it up in a suitcase. Nothing was heard or paid, until Liam came to his office a week later. On his desk, a bag had been placed with the ICA mark on it. He opened it and a huge amount of money was in it. It was a couple of million and a note.
"Dear mr. Liam
Thank you for this magnificent weapon. It has showed useful. So useful that you got a bonus from us. We might come back for more in the future.
Your's sincerely,
Diana"
Full size:
Also, thanks to Captain T for his Barret 98B triggerguard. Tack polarn
My favourite view of Times Square! Not because of the underwear- wearing ladies on the big screens.....just because!
The store on the left is 'American Eagle Outfitters' which I visited on several occasions so Paula could check out the gear in store.
The scrolling marquee at ABC studios is awesome and there are several other amazing video screen decorations on Times Square which kick-ass but the one on 'American Eagle Outfitters' was my favourite. In the store on the second-level was an area where you could get your photo taken doing a pose which then went up on the big screen outside the store for 15 seconds and was played on a loop for all to see out on the street - I was up for doing something crazy for the camera but alas Paula wasn't i'm afraid.
The staff in this store seemed to like asking me about where I got my clothes, especially the camp doorman who liked my Jimi Hendrix and B.A Baracus T-shirts and asked where he could get them - a fine compliment from someone working in one of the coolest clothes stores in the fashion capital of the world.....good times!
Because I heard that there was a Great Wave Off Kanagawa.
Today the Rogues are surfin', but I threw in a bonus Bench Monday as well.
And, yes, I'm surfing fully clothed. It was too cold to do otherwise. And I'd have posed better, had it not been for the fact that my bench was wobbly and unstable - not really designed for standing on, and especially not by a (very slightly) overweight middle-aged guy who should know better.
(It was only after I did this did I realise that I'd used a modified version of the print, rather than the original. I have no idea who to credit it to. Sorry.)
I was just starting to think about dinner when I realized I had not taken a photo yet. This is something that almost never happens to me, but being the resourceful person I am and being that my camera was right there, I picked it up and snapped a photo of the hallway from my office to the dining room. And that became my photo of the day :-)
Because we have a tiny, VERY antiquated kitchen, when we were forced to buy a new dishwasher (the old one died after 390 years- Maytag!) we had to replace it with another portable one. NO room to build it in! We decided at that point to change the 1950's old metal doorknobs that scratched the dishwasher all to heck- with wooden ones. These are they- being varnished by DH! ( I think he missed a bit!! Do you see it???)