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You really can't say, Las Vegas is a beautiful city, but it is definitely impressive....
trying to get rovers attention he is on his nose trying to call him rover saw him in the end then rover rosed his head up and dan fell on a blade of grass and rover started licking dan loads then dan was helped by his best friend
Saw this wonderful lady going through her dwindling phone list..before heading for the public phone.
How many friends and families left can she call?
How many familes and friends do you need to call before your own list gets shorter?
Do you recall the old coke slogan " Can't Beat the Feeling" ...?
When i saw this moment .. all i had was mixed feelings...
view on black:
"The Lur (a trumpet made from brass or wood) has a long history in the Nordic. The Lur trumpets of Bronze have been used since the Bronze Age in the Nordic areas. A wooden Lur was found in the Oseberg Viking Ship Mound that dates back to about 834 CE. It was commonly used for signaling and calling animals"
Taken under The Bergen International Festival
Yorkshire Dales last year.
Taken from Car.
Very common in the Dales and are often seen with their young by the road.
London Calling graphic available for download at dryicons.com/free-graphics/preview/london-calling/ in EPS (vector) format.
View similar vector graphics at DryIcons Graphics.
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Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
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This goose was alone, and calling and calling. Other geese flew over answering , but she never flew and just wandered away calling and calling. I wondered if she had lost her mate.
's-Hertogenbosch candid 35mm
Do not use my pictures without permission - but feel free to visit my website: www.gevoeligeplaten.nl
Senior Airman Justin Tanayo monitors incoming aircraft during a joint, live-fire exercise at a regional range in Southwest Asia. Tanayo is a tactical air control party Airman assigned to the 82nd Expeditionary Air Support Operations Squadron. (U.S. Air Force photo/Master Sgt. Ben Bloker)
Students call alumni and parents for donations on Wednesday, April 17, during the student calling program.
"In a park in Tottenham sits a magnificent ancient Oak tree – a 500-year-old symbol of permanence that dominates a corner in this forever-changing pocket of the city. Bird-like calls, songs and messages echo out from the canopy of the tree as performers continually appear and disappear, fluctuating between restful perching to passionate vocal and physical activity. The performers beckon knowing audiences and unwitting passers-by alike, enticing them to stop, look up, contemplate and enjoy. Bring your blanket or rug, lie on the grass, and expect to see – and hear – the iconic tree in a completely new way." LIFT
I love the profile of this eagle. I'm "still" going through the photos from that one day in Ketchikan and loving it!
One of the lecterns inside the church has a brass plaque embedded.
To the Glory of God and in loving memory of
CHARLES BERJEW BROOKE b.1868 d.1951 and of his wife
MAUD GWENDDOLEN BROOKE b.1872 d.1944 and of their son
CAPT. CHARLES BERJEW BROOKE D.S.O. b.1895 killed in action 1916
The memorial was given by the daughter of Charles Brooke (the father) in 1951.
www.iwm.org.uk/memorials/item/memorial/4326
BROOKE, CHARLES BERJEW
Rank:……………………………Lieutenant
Date of Death:…………….01/07/1916
Age:…………………………….21
Regiment:……………………Yorkshire Regiment
formerly Suffolk Regt. (Special Reserve), (formerly attd. 1st Bn.) The Queen's (Royal West Surrey Regiment)
Awards:……………………….D S O
Grave Reference:………..IV. H. 7.
Cemetery:……………………PERONNE ROAD CEMETERY, MARICOURT
Additional Information:
Son of Charles Berjew Brooke and Maud Gwenddolen Brooke, of Colne House, Brantham, Suffolk.
CWGC: www.cwgc.org/find-war-dead/casualty/310713/BROOKE,%20CHAR...
There is no obvious match for Charles in the Soldiers Died in the Great War database – the nearest match is a Cecil Berjew Brooke, a 2nd Lieutenant of the Alexandra Regiment, Battalion Not Shown, who was Killed in Action on the 1st July 1916. As with all Officers, no place of birth or residence is shown.
(Note – references to Alexandra Regiment, Princess of Wales Own and Green Howards are all alternative names for the Yorkshire Regiment).
The Medal Index Card for Second Lieutenant Charles “Beyent” Brooke, Yorkshire Regiment, is held at the National Archive under reference WO 372/3/89092 . He had originally been a Second Lieutenant in the Suffolk Regiment before becoming a Captain during his attachment from the Suffolks to the Royal West Surrey Regiment. He reverted to his former rank on joining the Yorkshire Regiment.
discovery.nationalarchives.gov.uk/details/r/D1503930
The Service Record for 2nd Lieutenant Charles Berjen Brooke, The Suffolk Regiment, are held at the National Archive under reference WO 339/16364
discovery.nationalarchives.gov.uk/details/r/C1070291
Most of any research I could do on this man has already been done – his father collected his letters home and had them privately published as “Letters from the boy”. The last one, dated 30th June 1916, ends:-
It is impossible to fear death out here when one is no longer an individual but a member of a regiment and of an army. To be killed means nothing to me, and it is only you who will suffer for it. You really pay the cost. I have been looking at the stars and thinking what an immense distance they are away! What an insignificant thing the loss of say forty years of life is compared with them. It seems scarcely worth talking about.
Well, good-bye you darlings. Try not to worry about it, and remember that we shall meet again, really quite soon. This letter is going to be posted if -----
Lots of love,
From your loving son Carl.
The same website source adds:-
Charles Berjew Brooke was born on the 7th March 1895 at Colne House, Brantham on River Stour, Suffolk, the only son of Mr Charles Berjew Brooke, an industrialist who manufactured "xylonite", i.e. celluloid. To avoid confusion, the younger Charles was known in the family as "Carl". He had a connection with Wales, because his mother Gwenddolen was the sister of Mrs Gertrude Bailey of "Stelvio" Newport, a lady prominent in her own right, and married to Mr Charles Henry Bailey of the Tyne Engine Works at Newport and Barry.
Carl was educated at Colchester Grammar School, followed by a preparatory school, Bilton Grange near,Rugby, and Bradfield College, Berks. He was interested in becoming a soldier from an early age, an interest stimulated by living near to the military town of Colchester, but a bout of diphtheria prevented him from taking part in strenuous exercise. Instead, to his great joy, he was taught rifle shooting , and was sent to represent the school at Bisley. He was allowed to join the college O.T.C., and awarded his certificate "A" in 1911, with extra marks for originality, and he left on the 31st of July 1913 with the rank of Colour Sergeant.
Carl must have had a flair for languages, as well as science, because he continued his education by studying chemistry in Berlin. Here he eagerly read as many German military books as he could find, including the German Field Service Book, as he intended to sit for the Army Interpreters’ Examination. He thought that every man should be trained, as he was sure that Germany intended to go to war against Britain, and at the end of July 1914, 6 days before war broke out between Britain and Germany, he returned home.
On his return, he applied for a commission in the Suffolk Special Reserve. To his disappointment, he was posted to 3rd Bn Norfolk Reg. in August 1914, but soon transferred to 3rd. Bn. Suffolk Reg. On Sept. 4th he was appointed a temporary Capt., dating from August 14th.
During his training he was marked top out of about thirty who joined with him. He was not to stay with them for long because in December he was attached to the 1st Bn The Queen’s (Royal West Surrey’s) and with 200 other reinforcements was sent out to France to replace the heavy losses they had suffered. In his letters home he described how well behaved his men were when they arrived in France, but he observed, rather wryly, that it could have been because they hadn’t been paid for a fortnight. He also commented on the wild Welsh and Scots who jumped out of the train at every halt and then raced after the train and got in anywhere, causing a lot of trouble and necessitating an "all change" at the next stop.
During his time at the Front he was able to make good use of his German, and he seems to have enjoyed his conversations with the prisoners who were brought in. He was also quite taken with their helmets, but felt that "it would hardly have been polite to bag the poor men’s hats". He also used his time to improve his French, and says that he has a good grasp of "Frenglish". He wrote home quite regularly, with detailed descriptions of life in the trenches. He made light of the fact that he had been shelled quite frequently, describing the sound as being like "water poured into a big jug from a tap"
In June, the War Office wrote to his Colonel asking whether he would recommend Lt. Brooke for a full Captaincy, but the Col. Replied that he had "Not enough service". The London Gazette for Sept. 4th.1915 records: Suffolk Regiment – Lieutenant to be Captain Charles B. Brooke, dating from August 14th, 1915.
On the morning of 25th Sept.1915, he was in action with the 1st Bn. The Queen’s at La Bassee, near Givenchy. All the other officers of B and D companies were killed, leaving him in command of the two companies, as well as some men from the H.L.I. and Oxford L.I. as they rushed the German trenches.
Encouraged by the 19 year old officer, they used up all their supply of bombs as well as those of the Germans before being driven back. Although wounded, Carl was the last to leave the trench, and it was reported that before leaving, he emptied his revolver at the advancing Germans, then threw the empty gun at a German officer, knocking him over.
He was wounded twice, once in the face which tore his cheek and mouth and knocked out two teeth and a serious chest wound, which fortunately, did not damage his lungs. He was admitted to 3rd. General Hospital at Le Treport.
On October 1st, he was sent to Alexandra Hospital for Officers, Millfield Lane, Highgate, London. In January 1916, he was mentioned in despatches, and on 14th he was awarded a D.S.O. for this action. The staff and works people from the village made a presentation to him for bringing honour to the village. His response was typically modest, he said "I was one of the lucky ones. Of course, I am glad to have won the D.S.O., but I want you to think of all those men who will not get anything, and who have deserved a decoration over and over again". He was invited to transfer to the Queen’s, and would have been happy to serve with them as a Lieutenant, but the Army had other plans.
In Feb. 1916 he was chosen for a commission in the Regular Army but it was in the Yorkshire Regiment, (The Green Howards’).Capt. Charles B. Brooke, D.S.O. was to be Sec. Lt., but to retain his higher rank until he joined a Regular Unit. In April 1916 he was sent to the 2nd. Battalion, which was serving with the 30th. division in France. He soon settled down to trench work, saying that his men were the best in the battalion, good at "sticking things" and "quite equal to the Queen’s". He said "I wouldn’t be pushed out of this regiment now". He was offered the chance of being trained as a staff officer, but said that he did not think he would be a success at it.
On the 1st July 1916, the 30th Division was to take Montauban. At 7.30a.m. the battalion was in Headquarters Avenue Trench with a battle strength of 24 officers and 688 other ranks who were to be responsible for occupying and consolidating the German front and support lines once they had been captured.
Carl was in command of "A" company, as it, advanced with "B" company under heavy machine gun fire, followed shortly by "C" and "D". Brooke was mortally wounded in the stomach, remaining alive just long enough for the stretcher bearers to reach the medical officer. His servant, Pte. Readman, reported his death, and that he had been buried at Bois de Talus Cemetery, near Carnoy. Lt.Col. Walter F. Young, commanding 2nd. Yorkshire Regiment wrote movingly of Carl as "a great favourite with all of us", and tried to reassure the family that he had not seemed to be in pain from his wound, and had been able to speak to the doctor before he died, as well as telling the stretcher bearers that it was hard lines being hit in the stomach. Col. Young said that he was most grieved at his loss, but had died as "he would have liked to do". He wrote to Carl’s mother, saying that he felt his loss more than that of any other officer, calling him "the cheeriest and best of good fellows", and describing their mutual enthusiasm for the works of Rudyard Kipling.
On July 3rd 1916, it was announced that 2nd. Lt. C.B. Brooke, D.S.O., was to be Temp. Capt. In Yorkshire Regiment, dated from May 16th. 1916.
www.powell76.talktalk.net/Brooke.htm
www.facebook.com/RoyalAnglianRegMuseum/posts/887556941356589
That final letter was sold at auction in November 2016
www.bristolauctionrooms.co.uk/135-lot-46-July-1st-1916-Ca...
That wasn’t all there was to remember his last hours by.
He was commissioned into 3rd Suffolk in 1914, having been born and raised in Brantham, near Manningtree. He had been wounded badly whilst winning his DSO in early 1916, and we heard of how even after emptying every chamber of his pistol into the advancing enemy, he then hurled his revolver at one of them, knocking him over! After his death on 1st July, his family published the letters he wrote home in a small memorial volume entitled “Letters from The Boy.” It was said that for many years his blood-stained and battered tunic hung in a frame in the hallway of his parents home.
www.friendsofthesuffolkregiment.org/2016-battlefield-tour...
A picture of Charles can be seen as one of the responses on page 1 of this forum query.
1914-1918.invisionzone.com/forums/topic/8032-officers-die...
The Imperial War Museum holds a copy of “Letters from the boy.”
www.iwm.org.uk/collections/item/object/1500034743
Family History websites
www.thosebefore.com/g1/p1386.htm
www.brooksfamilyhistory.co.uk/media/ONS%20-%20CWGC%20upda...
His headstone can be seen here:-
www.ww1-yorkshires.org.uk/jpg-files/overseas-cemeteries/p...
7th March 1895 – Birth……………
This birth date is quoted in the online biography for Charles, as well as one of the family tree links.
The birth of a Charles Berjew Brooke was registered with the Civil Authorities in the District of Samford in Suffolk in the April to June quarter, (Q2), of 1895. Then, as now, you had 42 days after the event to register the birth without facing a fine and a court appearance so a registration in this quarter is not incompatible with the date of birth quoted. Samford District included the Civil Parish of Brantham.
The marriage of his parents, Charles Berjew Brooke and Maud Gwenddolen Buchanan, was recorded in the Islington District of London in the April to June quarter, (Q2), of 1894.
1901 Census of England and Wales
The 6 year old Charles B Brooke, born Brantham, was recorded living at Colne House, Brantham. This was the household of his parents, Charles B., (32, Manager of Brantham Works, British Xyl.Co. Ld., born Liverpool, Lancashire), and Maude G., (26, born Cardiff, Glamorganshire). As well as Charles the couple also have a daughter, Gwenddolen F., (4, born Brantham). Completing the household is father Charles’ unmarried brother in law, Harold G. Buchanan, (22, Superintendent Xyl. Works, born London) and two live in domestic servants.
1911 Census of England and Wales
The 16 year old Charles B. Brooke, born ”Manningtree, Essex”, was recorded as a boarding school student at Bradfield, Reading, Berkshire.
His parents were still recorded living at Colne House, Brantham. Charles Berjew Junior and Mary Gwenddolen Brooke had then been married for 16 years and have had 2 children, both then still alive, but neither was at home. Charles, 42, is recorded as the Xylonite Works manager. Mary was then 38.
His sister Gwenddolen was also at boarding school – in her case at St Felix School, Reydon, Sothwold, Suffolk.
Until September 1911 the quarterly index published by the General Registrars Office did not show information about the mothers maiden name. A check of the General Registrars Office Index of Birth for England and Wales 1911 – 1983 shows no likely additional children of parents Charles and Maud.
Army career…………………………….
The London Gazette dated 8th January 1915 records that on probation Second Lieutenant Charles Berjew Brooke of the 3rd Battalion, The Suffolk Regiment was confirmed in his rank.
www.thegazette.co.uk/London/issue/29035/page/287/data.pdf
1st Queens Battalion War Diary 9th June 1915
Lieut C B Brooke is shown in command of B Coy in place of Lieut W. Nicholas, who was in Hospital.
qrrarchive.websds.net/PDF/QW00119150601.pdf
His promotion to Captain, effective 4th August 1915, appeared in the Supplement to the London Gazette dated Saturday 4 September 1915. Recorded on page 8815, he is shown under the Special Reserve of Officers, Suffolk Regiment.
www.thegazette.co.uk/London/issue/29284/supplement/1
1st Queens Battalion War Diary 25th September 1915
Section B.2. Our leading line advanced at 6.7 a.m. and reached the German 3rd line without great opposition. The attack was evidently a complete surprise.
The Battn. advanced on a frontage of two platoons. D. Coy. (Major BUNBURY) on the right and B. Coy, (Capt. Brooke) on the left. The advance was necessarily slow to keep behind the smoke, B & D Companies reached the German lines and gained touch with the 2/Oxford L.I. and the 2/H L I on the left and right respectively. The Support Company (C Coy) under Captain Weeding held on front line of trenches and, at about 8.15 A M two platoons of this Company reinforced B & D Companies, taking up a supply of Bombs with them, Lieut E D DREW commanded this party.
The Enemy developed a strong bombing attack on both flanks of the Regt., and our men were unable to reply effectively owing to a lack of bombs. About 9.45 a.m. the two and half companies were obliged to fall back into our own lines, under a very heavy machine gun fire from the right flank.
Casualties:- 2Lts A W A BRADSHAW, C D M FOWLER and E I B HOWELL killed & missing, 2 Lt F G PLANT wounded and missing, Major J.K.N. BUNBURY, Capt C B BROOKE, Lieutr H P FOSTER and 2 Lieut R G POYESON-MICES(?) wounded. Other Ranks, 19 Killed, 21 missing believed killed, 138 wounded, 80 Missing and wounded & missing, 7 suffering from gas. 1 died of wounds. Total 265 other ranks.
The remainder of the day was spent in reorganizing the line and in collecting wounded, burying dead etc.
qrrarchive.websds.net/PDF/QW00119150904.pdf
His appointment as Companion of the Distinguished Service Order appears in the Supplement to the London Gazette dated 14th January 1916. He was recorded as The Suffolk Regiment, Special Reserve (attached Royal West Surrey Regiment).
www.thegazette.co.uk/London/issue/29438/supplement/575/da...
The London Gazette dated 18th February 1916 included the notice:-
Alexandra, Princess of Wales’s Own (Yorkshire Regiment).
Captain Charles Berjew Brooke, D.S.O., from The Suffolk Regiment, Special Reserve, to be Second Lieutenant, and to retain his higher rank until ordered to join a Regular unit. Dated 19th February 1916, with seniority from 4th January, 1916, and precedence next above R, de H.M. Bell.
www.thegazette.co.uk/London/issue/29478/page/1812/data.pdf
On the day
Saturday July 1st 1916, Temperature 72°, clear sky
XIII CORPS -CAPTURE OF MONTAUBAN -30th DIVISION
The wire had been cut successfully. The Germans were mostly caught in dugouts, so little resistance was encountered
89th Brigade : starting from four lines of assembly trenches at 7.30 AM ,17th and 20th King's met little resistance and moved on to Casement and Alt Trenches. The 2nd Bedfordshire were in support and mopping-up. The attack pressed on to Dublin Trench. At 8.30 AM the right of the line joined with the French and the left, in the east end of Glatz Redoubt; simultaneously, the 3rd Battalion of the French 153rd Regiment entered Dublin Redoubt at the east of Dublin Trench. The position was consolidated
21st Brigade : The enemy here was also caught in its dugouts so little resistance was encountered
Leading, with 19th Manchesters, 18th King's went forward until they caught up with British barrage at Alt Trench, where they had to wait until the barrage lifted at 7.45 AM , before occupying it. The Manchesters had few losses but the King's were caught by enfilade machine-gun fire from the west side of Railway Valley. Fire from the Warren caused severe casualties among 2nd Green Howards who were in support, and few managed to cross no man's land. A party of Germans came out of a deep dugout and proceeded eastwards but were out-bombed by a party of moppers-up. This enabled 18th King's to advance along Train Alley to Glatz Redoubt, reaching it at 8.35 AM and joining with 89th Brigade
90th Brigade : At 8.30 AM 90th Brigade began its advance on Montauban, passing through 21st Brigade with 16th and 17th Manchesters. The 2nd Royal Scots Fusiliers were in close support. Despite machine-gun fire from Bresleau Alley, they continued their advance, and the German machine-gun was finally wiped out by a Lewis-gun of the 16th Manchesters. Under cover of a smoke-screen, the Manchesters and Royal Scots Fusiliers entered the village of Montauban at 10.05 AM , to find it deserted. By 11 AM the second objective in Montauban Alley was entered. The Germans were pulling back in large numbers. The 16th Manchesters rushed the battery in Caterpillar Valley and captured the first three guns of the battle. Montauban was consolidated.
At 12.30 PM 4th Coy, 20th King's (89th Brigade) attacked La Briqueterie from Dublin Trench under cover of an artillery bombardment
Simultaneously, bombers moved up Nord Alley cutting off the retreat of the garrison. By 12.35 PM La Briqueterie was taken, as were all objectives and the position was consolidated. By 6 PM the road to Maricourt-Montauban had been repaired 200 yards beyond the old German front line
The 30th Division had taken all its objectives
www.bandb-somme-bernafaywood.com/the-great-war/bernafay-w...
There is more on the 30th Divisions’ role here:-
www.longlongtrail.co.uk/battles/battles-of-the-western-fr...
PERONNE ROAD CEMETERY, MARICOURT
Location Information
Maricourt is a village situated on the D938, Albert-Peronne Road, 10.5 kilometres from Albert.
History Information
Maricourt was, at the beginning of the Battles of the Somme 1916, the point of junction of the British and French forces, and within a very short distance of the front line; it was lost in the German advance of March 1918, and recaptured at the end of the following August. The Cemetery, originally known as Maricourt Military Cemetery No.3, was begun by fighting units and Field Ambulances in the Battles of the Somme 1916, and used until August 1917; a few graves were added later in the War, and at the Armistice it consisted of 175 graves which now form almost the whole of Plot I. It was completed after the Armistice by the concentration of graves from the battlefields in the immediate neighbourhood and from certain smaller burial grounds, including:-
BRIQUETERIE EAST CEMETERY, MONTAUBAN, on the East side of the brick-works between Maricourt and Montauban, containing the graves of 46 soldiers from the United Kingdom who fell in the latter half of 1916.
CASEMENT TRENCH CEMETERY, MARICOURT, on the West side of the road to the Briqueterie, in which 163 soldiers from the United Kingdom and one from South Africa were buried in 1916-1918.
FARGNY MILL FRENCH MILITARY CEMETERY, CURLU, on the North bank of the Somme, in which six soldiers from the United Kingdom and two from Australia were buried in 1916-1918.
LA COTE MILITARY CEMETERY, MARICOURT, a little way West of Peronne Road Cemetery, containing the graves of 38 soldiers from the United Kingdom and one from Australia who fell in 1916-1917.
TALUS BOISE BRITISH CEMETERY, CARNOY, between Carnoy and Maricourt, at the South end of a long copse. It was used in the latter half of 1916 and (chiefly by the 5th Royal Berks) in August 1918, and it contained the graves of 175 soldiers from the United Kingdom and five from South Africa.
(Plus other site but whose details indicate none from 1916)
There are now 1348, 1914-18 war casualties commemorated in this site. Of these, 366 are unidentified and special memorials are erected to 26 soldiers from the United Kingdom known or believed to be buried among them. Other special memorials record the names of three soldiers from the United Kingdom, buried in other cemeteries, whose graves could not be found.
CWGC: www.cwgc.org/find-a-cemetery/cemetery/32200/peronne-road-...
As part of the commemoration of the outbreak of the Great War, the Commonwealth War Graves Commission added a number of original documents to their website. One of those on their webpage for Charles Brooke is a Concentration Report. These reports detail an exhumation and move to the current resting place. He was one of at least 10 graves moved from map reference 62c.A.14.b.5.4 into Peronne Road Cemetery. Charles was the only officer – the other nine British soldiers all died in 1918 Someone has written in blue pencil down the side of the report “Maricourt 3/95E”, which might imply they came from either the La Cote Cemetery or Casement Trench Cemetery.
A report prepared for the Commission to take over maintenance of the graves indicates they were at the new location by the start of November 1920.
Postscript………………….
The 1916 Probate Calendar records that Charles Berjew Brooke, of Colne House, Brantham. Suffolk, a Captain 2nd Battalion Yorkshire Regiment D.S.O., died 1 July 1916 in France. Administration of his estate was granted at the Ipswich Court on the 28th August 1916 to Charles Berjew Brooke, (the younger), manager of the British Xylonite company’s Brantham works. His effects were valued at £322 2s 4d.
probatesearch.service.gov.uk/Calendar#calendar
The edition of The Times, dated Monday July 10, 1916 records his death and includes a brief obituary.
CAPTAIN CHARLES BERJEW BROOKE, D.S.O., Yorkshire Regiment, was the only son of Mr. and Mrs. C.B. Brooke, jun. of Colne House, Brantham, Suffolk, and was 21 years of age. He was educated at Belton Grange, near Rugby, and Bradfield College. He was gazetted to the 3rd Suffolk Regiment on the outbreak of war, and was sent to France, attached to the 1st Queen’s, in December 1914, and rose to the rank of captain. He was seriously wounded while leading his company in the attack on September 25, 1915, and was mentioned in dispatches and awarded the D.S.O. In January 1916 he was chosen for a commission in the Regular Army, and was gazetted to the Yorkshire Regiment. He was killed on July 1st “while leading his company into action in this recent attack”.
The Births, Marriages and Deaths announcement in the Western Mail on the following included a note on the death of Charles “On Active Service”.
BROOKE.- On July 1st, in France, Charles Berjew Brooke, D.S.O., Second-lieutenant, Princess of Wales’ Own Yorkshire Regiment, aged 21, only son of Mr. and Mrs. Charles B. Brooke Junr., of Colne House, Brantham, Suffolk, and nephew of Mrs. C.H. Bailey, Stelvio, Newport, Mon.
That final letter was printed in full in the editions of The Surrey Advertiser, dated Saturday, July 22nd 1916 and Monday, July 24, 1916, under the heading Former Queen’s Officer Letter. It is noted that there are many in The Queens who will remember Captain Brooke, and “many others who will find consolation in the letter”. On the same page in the Officers Killed section, as well as his name appearing in the list there is also a few lines about him.
Lieut. and Temp. Capt. Brooke, D.S.O., Yorkshire Regiment, who was killed in action on July 1st, was attached to a battalion of The Queens from December 1914, until he was wounded on September 25th 1915. He was the only son of Mr. and Mrs. C.B. Brooke, Colne House, Brantham, Suffolk, and was 22. His colonel writes: “As soon as he joined us we recognised him as a born leader of men, and I at once put him in command of a company. He was leading it to the assault when he was shot.”
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.