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Comprehensive School Kaiserplatz (formerly Marianne-Rhodius Girls' Secondary School), Krefeld
Built in 1955/56, gym and ancillary rooms with arcade 1959/60, extensions in 1973
Architect Hans Volger (1904−1973) for the municipal building department, City of Krefeld
""Not a teaching palace (...), but an assembly of huts (...) not a stack of storeys, but a layer of casings; not a learning industrial building, but a workshop farm" (Hans Schwippert, 1960).
When the former Bauhaus member Hans Volger planned the school for around 900 pupils at Kaiserplatz, like his colleague Schwippert, architecture professor and rector at the Düsseldorf Art Academy, he was inspired by modern Scandinavian school buildings like those by Arne Jacobsen. In doing so, he also followed the ideas of New Building, which were intended to satisfy the need for fresh air, sun, hygiene and outdoor exercise as early as in the 1920s.
After the Second World War, the modern school building succeeded in turning away from the gloomy "barracks style" and thus from military-style educational concepts in favor of a relaxed pavilion architecture with many windows: Volger himself wanted a “home school” with “home classes” where teachers and students would live and learn together. [...]
The entire school was built from precast concrete parts, only the ceilings were poured on site. The supporting structure is visible on the facade. Window sills, pillars, lintels and girders are made of granular concrete and therefore stand out from the wall infills made of brown brickwork. Lightness is created by the small-format cubes of the class pavilions, by perforated motifs in the balcony parapets and surrounding walls as well as by the use of dark-framed floor-to-ceiling windows (which unfortunately have been replaced by divided white ones) in connection with bands of smaller square windows." (translated from www.architekturguide-krefeld.de/object/volger-hans-Gesamt...)
Gesamtschule Kaiserplatz (vormals Mädchenrealschule Marianne-Rhodius), Krefeld
Baujahr 1955/56, Turnhalle und Nebenräume mit Laubengang 1959/60, Erweiterungen 1973
Architekt Hans Volger (1904−1973) für das Städtische Hochbauamt Krefeld
"„Kein Lehrpalast (…), sondern eine Versammlung von Hütten (…) kein Stapel von Geschossen, sondern ein Gelege von Gehäusen; kein Lern-Industriebau, sondern ein Werkstätten-Gehöft“ (Hans Schwippert, 1960). Als der ehemalige Bauhäusler Hans Volger die Schule für ca. 900 Schüler am Kaiserplatz plante, ließ er sich wie sein Kollege Schwippert, Architekturprofessor und Rektor der Düsseldorfer Kunstakademie, von modernen skandinavischen Schulbauten wie jenen von Arne Jacobsen inspirieren. Er folgte damit aber auch den Ideen des Neuen Bauens, die bereits in den 1920er-Jahren die Bedürfnisse nach frischer Luft, Sonne, Hygiene und Bewegung im Grünen befriedigen sollten.
Nach dem Zweiten Weltkrieg gelang im modernen Schulbau die Abkehr vom düsteren „Kasernenstil“ und damit von militärisch geprägten pädagogischen Konzepten zugunsten einer aufgelockerten Pavillonarchitektur mit vielen Fenstern. Volger selbst wünschte sich eine „Heimschule“ mit „Heimklassen“, in denen Lehrer und Schüler zusammen wohnen und lernen. [...]
Die gesamte Schule wurde aus Fertigbetonteilen errichtet, nur die Decken wurden vor Ort gegossen. Die Tragekonstruktion ist an der Fassade nachvollziehbar. Fensterbänke, Pfeiler, Stürze und Unterzüge sind in körnigem Beton und heben sich daher von den Wandausfachungen aus braunem Ziegelmauerwerk ab. Leichtigkeit entsteht durch die kleinformatigen Kuben der Klassenpavillons, durch Lochmotive in den Balkonbrüstungen und Umfassungsmauern sowie durch die Verwendung dunkel gefasster bodentiefer Fenster (sie wurden leider durch geteilte weiße Fenster ersetzt) in Verbindung mit Bändern aus kleineren quadratischen Fenstern." (www.architekturguide-krefeld.de/objekt/volger-hans-gesamt...)
Comprehensive infrastructure works between Luxembourg and Bettembourg led to bustitutions during several weekends in 2019. TGV's on Paris - Luxembourg "Est Europeën" services were cut back to Bettembourg and were stabled in the otherwise goods-only yard of Bettembourg. After having arrived from the south, this Euroduplex heads for Bettembourg Triage. 29/06/2019
A comprehensive list of 20 fun things to do in Kyoto, Japan. The ancient city has just so many tourist attractions in Kyoto that a week will not be enough. Click for more. - ift.tt/2dgYmZn
"The new Victorian Comprehensive Cancer Centre facility is located in the Melbourne suburb of Parkville, the heart of Melbourne’s research and biomedical precinct.
Peter MacCallum Cancer Centre, Melbourne Health and The University of Melbourne comprise the building partners for this exciting project.
The project will provide a brand new home for the Peter MacCallum Cancer Centre and new cancer research and clinical services for Melbourne Health (including the Royal Melbourne Hospital), new cancer research facilities for The University of Melbourne and new education facilities for all building partners.
A key feature of the new building is the central atrium. Light-filled and extending up through the centre of the structure, the atrium is an intuitive way finding solution and will assist visitors and staff to orient themselves and navigate the building.
Clinical floors will be located on the lower levels of the facility, making the patient’s journey via stairs or lift simple and direct.
The new facilities are 130,000 sqm in total. This includes the new building on the former Dental Hospital site, as well as new facilities being built on top of the existing Royal Melbourne Hospital buildings.
The main building has thirteen floors above ground level and two below ground, and an additional four basement floors. It includes approximately 700 carparking spaces, 400 bicycle parking spaces and 22 lifts. There will be three bridges linking the new building and The Royal Melbourne Hospital.
Education and training facilities include 47 seminar and meeting spaces and a large lecture theatre.
Gardens and terraces are incorporated throughout the new facility, as well as landscaped spaces on The Royal Melbourne Hospital site."
British Airways operates one of the most comprehensive long-haul network, notably across the Atlantic Ocean where it operates a significant number of flights from both London Heathrow and London Gatwick bases.
The majority of British Airways Caribbean flights operates from London Gatwick given they are primarily leisure (O&D) destinations. London Heathrow on the other hand sees just one long-haul flight by BA operating from the Caribbean, this being the 4 times weekly BA252/253 from Grand Cayman and Nassau in the Bahamas... The flight operates Monday, Wednesday, Friday and Sunday only.
Prior to the Summer 2016 schedule changes, BA252/253 was one of the last remaining long-haul flights by BA to utilise long-haul configured Boeing 767-300ER's. All of British Airways long-haul Boeing 767-300ER's have been withdrawn and replaced by either Boeing 787-8's and 3-class configured Boeing 777-200ER's. On 1st July 2016, British Airways converted BA252/253 from Boeing 767-300ER's to 3-class Boeing 777-200ER's, a massive capacity increase. The reason for Grand Cayman and Nassau having a direct flight to London Heathrow compared to other Caribbean destinations is owing to their off-shore financial industry.
British Airways Boeing 777 fleet is undergoing major changes, as previously mentioned in IAG's Capital Markets Day presentation in 2015 and 2016, the fleet should continue active service up until 30 years of service. A number of 4-class Boeing 777-200ER's will undergo cabin reconfiguration with First Class interiors removed (the Heathrow General Electric-powered Boeing 777's are not likely to be affected by the changes). The 3-class Boeing 777-200ER's, notably the Gatwick fleet will feature 10-abreast seating in Economy.
The number of 3-class Boeing 777-200ER's are now largely based at London Gatwick instead of London Heathrow. The number of long-haul flights operating out of London Gatwick has increased mainly due to Norwegian Long-Haul's expansion from the base. The General Electric-powered Boeing 777-200ER's don't have the range and take-off weight for BA's longest flights, it is left to the Rolls-Royce examples to operate the longest flights in the network.
Here is the list of British Airways Boeing 777-200/200ER bases as of May 2017:
-Gatwick: G-VIIO/P/R/T/U/V/W/X/Y, G-YMMC/D/R/S
-Heathrow: G-ZZZA/B/C, G-VIIA/B/C/D/E/F/G/H/J/K/L/M/N/S, G-RAES, G-YMMA/B/E/F/G/H/I/J/K/L/N/O/P/T/U
Currently, British Airways operates a massive Boeing 777 fleet with 58 in service, which includes 3 Boeing 777-200's, 43 Boeing 777-200ER's and 12 Boeing 777-300ER's.
Yankee Mike Mike Echo is one of 43 Boeing 777-200ER's in service with British Airways, delivered new to the flag-carrier in April 2000 and she is powered by 2 Rolls-Royce Trent 895 engines. When delivered new, she carried a shrunken version of BA's corporate Chatham Dockyard Union Jack livery, the livery was revised in July 2010 when she was repainted into the standard size livery. During 2015, she carried a Red Nose in support for Comic Relief 2015 alongside BA's charity, Flying Start that works in-conjunction with Comic Relief... The Red Nose was later removed in January 2016.
Boeing 777-236/ER G-YMME on final approach into Runway 27L at London Heathrow (LHR) on BA252 from Grand Cayman-Owen Roberts (GCM) via Nassau-Lynden Pindling (NAS).
37407 +37424 stand in Oakamoor Sidings hidden away from the main CVR presumably due to their dreadful condition on 3rd Jan 09....While no trace of the railway now exists at this point ,who would ever have dreamt that both these locos would receive the most comprehensive million pounds plus rebuilds and then return to the mainline in Large Logo blue....37407 which had survived a period in Wigan's notorious CRDC also displays a bent nose after a rough shunt before its withdrawal in March 2000....Its rebuild included a full body reskin before its return to action in 2018......was it all worth it for DRS just getting six years use before being sold on fortunately for further use
A comprehensive set of barriers precludes non-travelling visitors from wandering onto the platforms at Newcastle Central Station to take photographs. However Station Management issue permits on request after advising of basic commonsense requirements - don't impede passengers, do keep away from the platform edges etc. All very friendly, and armed with a permit, an attendant will let you through onto the platforms.
HD PENTAX-D FA 28-105mm f3.5-5.6
The Hubble Legacy Field represents the largest, most comprehensive "history book" of galaxies in the universe.
The image, a combination of nearly 7,500 separate Hubble exposures, represents 16 years of observations gathered together into a unified whole, giving the image its uneven shape. It includes Hubble deep-field surveys, such as the 2012 eXtreme Deep Field (XDF) and the 2004 Hubble Ultra Deep Field (HUDF), as well as the 2003 Great Observatories Origins Deep Survey (GOODS).
The wavelength range stretches from ultraviolet to near-infrared light.
The image presents a wide portrait of the distant universe and contains roughly 265,000 galaxies. They stretch back through 13.3 billion years of time to just 500 million years after the universe's birth in the Big Bang. The tiny, faint, most distant galaxies in the image are similar to the seedling villages from which today's great galaxy star-cities grew. The faintest and farthest galaxies are just one ten-billionth the brightness of what the human eye can see.
The wider view contains 100 times as many galaxies as in the Hubble Ultra Deep Field. The new portrait, a mosaic of multiple snapshots, covers almost the width of the full Moon. Lying in this region is the XDF, which penetrated deeper into space than this legacy field view. However, the XDF field covers less than one-tenth of the full Moon's diameter.
The Hubble Legacy Field is located in the constellation Fornax.
Credit: NASA, ESA, and G. Illingworth (University of California, Santa Cruz; UCO/Lick Observatory)
For more information, visit: hubblesite.org/contents/news-releases/2019/news-2019-17.html
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.
TM Travel introduced comprehensive changes to their 218 service at the end of January. The frequency was doubled to half hourly while the route was cut back to operate between Sheffield and Bakewell/Chatsworth. The less lucrative section between Chatsworth and Matlock is now covered by council-funded service 217. Most notably, four WiFi-equiped ex Trentbarton Scania saloons were outshopped in a route-specific livery and have replaced a previous reliance on elderly deckers.
FJ03VVM (601) is seen as it crosses Big Moor on the 06:48 Matlock-Sheffield 218. This is one of only two 218s to serve Matlock, the other being the 06:30 ex Sheffield which is essentially a schools positioning run and remains a double deck working. The journey pictured omits Chatsworth, running direct along the A6 between Rowsley and Bakewell. It was introduced roughly five years ago so as to provide a peak commuter bus into Sheffield from Bakewell and Matlock, a journey which at the time required a complicated change of vehicles – this was in the days when the 218 was in the main Sheffield to Buxton via Bakewell. Nowadays there is no peak return to Matlock using a TM bus, though the trip can be done using Stagecoach’s X17.
Vancouver Maritime Museum, Vancouver, BC
An comprehensive album of photos and text about the liner:
www.liverpoolships.org/empress_of_scotland_canadian_pacif...
YouTube: Empress of Japan departing Vancouver in 1938:
www.youtube.com/watch?v=OJONaDkmNCI
RMS Empress of Japan was an ocean liner built in 1929–1930 by Fairfield Shipbuilding & Engineering Company at Govan on the Clyde in Scotland for Canadian Pacific Steamships (CP). This ship was the second of two CP vessels to be named Empress of Japan[1] – regularly traversed the trans-Pacific route between the west coast of Canada and the Far East until 1942.
In 1942, she was renamed RMS Empress of Scotland – the second of two CP vessels to be named Empress of Scotland.[2] In 1957, the Hamburg Atlantic Line purchased the ship and re-named her TS Hanseatic.
By the 1920s the Canadian Pacific conglomerate had established a sea/rail connection between Europe and the Far East. The company's steamships would carry passengers from Great Britain to Canada, the same company's railroad carried passengers across the North American continent to Vancouver, where passengers boarded another Canadian Pacific ship that would carry them across the Pacific to Asia.
This was at the time the fastest way to reach the Far East from Europe. In the late 1920s Canadian Pacific decided to modernize their Pacific and Atlantic fleets, with the aim of reducing the journey time between Europe and the Far East by two days.
The new liner intended for the transpacific service was envisioned at approximately 25,000 gross register tons, 203.05 m (666 ft 2 in) in length and capable of carrying 1173 passengers in four classes.
Construction of the vessel was awarded to Fairfield Shipbuilding & Engineering Company at Govan near Glasgow in Scotland.[5] She was launched on 17 December 1929 and named Empress of Japan.
Originally Canadian Pacific had planned on constructing a sister ship for her for the Pacific service, but due to the Great Depression the second ship was left unrealized. Instead, the company decided to concentrate their resources on Empress of Britain, a larger version of Empress of Japan under construction for their trans-Atlantic service. Empress of Britain was approximately 16,000 GRT larger than Empress of Japan.
Empress of Japan carried out her sea trial successfully in May 1930, achieving a top speed of 23 knots; and on 8 June 1930, she was delivered to Vancouver for service on the trans-Pacific route. In this period, she was the fastest ocean liner on the Pacific.
She would continue sailing the Vancouver–Yokohama–Kobe–Shanghai–Hong Kong route for the rest of the decade. Amongst her celebrity passengers were a number of American baseball all-stars, including Babe Ruth, who sailed aboard Empress of Japan in October 1934 en route to Japan.
The outbreak of war in Europe caused Empress of Japan to be re-fitted for wartime service.
Following the Japanese attacks on the Empire outposts in the Far East in December 1941, the name of the ship needed to be changed. In 1942, she was renamed Empress of Scotland.
Following the end of World War II, Empress of Scotland was needed to meet the newly developing demands for trans-Atlantic passenger service. In the period between 1948 and 1950, she was rebuilt at Fairfield in Glasgow. These modifications were necessary to better meet weather conditions on the colder Atlantic route. This extensive re-fitting included a radical reconfiguration of her cabins from the original four classes to just two – first and tourist.
The Canadian Pacific Empress of Scotland completed her last trans-Atlantic crossing in 1957; and she was temporarily laid up in Belfast until being sold.
Following her sale to Hamburg Atlantic Line in 1958, the ship was radically rebuilt to meet the expanding market for trans-Atlantic passenger service. The ship's superstructure and funnels were rebuilt and her passenger accommodations were re-configured.
The vessel emerged as the 30,030 GRT TS Hanseatic. The renamed and re-flagged ship was designed to carry as many 1350 passengers in comfortable luxury on the Hamburg-New York route.
On 8 September 1966, the ship caught fire at New York. The fire developed in the engine room and gutted five decks. Deemed beyond economic repair, she was scrapped shortly thereafter.
Testing is the best way to ensure mission success. Comprehensive systems evaluations like the one recently performed help to verify that the all of Webb's many pieces, components and electronics are all working in unison as a complete observatory.
More on the test here: www.nasa.gov/feature/goddard/2020/nasa-s-james-webb-space...
Image Credit: Northrop Grumman
Arriva Midlands VDL SB200 Wright Commander FJ06ZTN 3726 working route 829 Grindcobbe Avenue Springfields Estate to Netherstowe Comprehensive School Lichfield
Another interesting,but sad find at the Franks' House.This a pretty elaborate, old bible that surely cost plenty in its day--a book collector may cherish it.But probably not in this condition...
Full story online:
www.corkshipwrecks.net/ussmanleydd74.html
USS MANLEY DD74
(Caldwell Class, 1917)
The United States destroyer, USS Manley arrived in Queenstown (now Cobh) in the south of Ireland in December, 1917. Queenstown was the centre for anti-submarine forces, on the Western Approaches, under the command of Admiral Lewis Bayley, Commander in Chief , Coast of Ireland. The Manley soon commenced operations
Initially there was uncertainty as to the most effective use of destroyers. At first they were given patrol areas which they would scout, singly or in pairs. Any stray incoming merchantmen seen, were to be escorted to near their destinations. This was a most ineffective use of the force, as the chances of coming across, and destroying a lone submarine in the vastness of the Western Approaches was virtually nil.
By Summer 1917, under the urging of commanders such as Admiral Sims, Commander of US Naval Forces in Europe, the convoy system was initiated. Groups of merchantmen were escorted through the war zone by flanking destroyer screens. This had the dual effect of reducing the amount of targets for German u-boats, and allowing destroyers and sloops to attack the harassing submarines. The priorities of the destroyers were to:
Destroy Submarines.
Protect and escort Merchantmen.
Save the crews and passengers of torpedoed ships.
Anti-submarine patrols did continue also for the duration of the war, especially in the Irish Sea and close to the coast of France, where u-boats would try to sink merchantmen as the convoys dispersed. In 1918, any destroyer in the Irish Sea, which was not actively convoying, came under the orders of The Irish Sea Hunting Flotilla, under the command of Captain Gordon Campbell VC based in Holyhead, Wales. US destroyers were also used to patrol the west coast of Ireland to hunt suspected gun-running ships, for Irish Republicans.
The destroyers , initially, were ill-equipped to fight submerged submarines. When they arrived in Europe they were armed with guns and torpedoes. The only undersea weapons supplied were single hand-launched 50lb depth charges which were particularly ineffective. It was the later fitting of dual depth charge racks on the sterns of the ships, Thornycroft depth charge throwers, and Y shaped charge throwers that turned them into a dangerous force. These were capable of dropping and firing a continuous patterned barrage of 200lb, charges around a submarine's suspected position. Most of the retro-fitting of these armaments was done at Cammel Laird in Birkenhead, England.
On March 4th, 1918, Convoy HD 26, sailed from Dakar, West Africa, for the British Isles. The convoy consisted of 16 merchant ships, escorted by HMS Motagua (Captain L.L.Dundas RN), an Armed Merchant Cruiser. By the time the coast of England was near, the convoy had reduced to 10 ships plus the Motagua.
On the morning of the 19th of March, a mixed convoy escort of United States destroyers and British sloops approached the convoy. This escort consisted of USS Beale, USS Patterson,USS Terry, USS Manley, HMS Tamarisk, and HMS Bluebell.
The order was given to change course towards the Scillies, but before this could be complied with, the Manley (Commander Robert L.Berry USN) approached the Motagua.
She approached this vessel on the starboard side with the intention of throwing a heaving line to pass despatches. The Captain of the Motagua felt that the Manley was too close and signalled the Manley to gain distance. The Manley turned to starboard, but her stern connected with the stern of the Motagua.
One of the depth charges, held in a Thornycroft thrower on Manley was dislodged and exploded. This caused devastating damage to both ships, with the addition of a petrol fire on the Manley, caused by the piercing of gasoline drums on board. Further depth charges also exploded on the Manley, causing the after end of the ship to be totally destroyed.
The ships stopped and the convoy passed them. The aft guns on both ships were blown overboard. The Manley was completely unmanageable, but the Motagua was able to make way with difficulty, having lost her steering gear.
The sloop HMS Tamarisk made repeated efforts to tow Manley, but it was the tugs Cartmel and Blazer, that borught her to Queenstown on the 20th. The Motagua, flanked by HMS Bluebell. HMS Polyanthus joined escort until relieved by HMS Oriole. HMS Bluebell proceeded to Plymouth with wounded of USS Manley. Motagua made Plymouth the same day.
As was the custom, separate courts of enquiry were held , a Royal Navy one at Devonport and a US Navy one in Queenstown. In both the blame was laid at the Commander of USS Manley.
Casualties from USS Manley are brought ashore at Queenstown (Cobh) in Cork. Railway station in background
On the 18th of April 1918, a Court Martial was held on board USS Melville, in Queenstown. The finding of the court was that Commander Berry was found guilty of ‘Culpable Inefficiency in the Performance of Duty’.
Five members of the court, however recommended clemency on the grounds that small collisions of the nature of the one between the Motagua and Manley, were commonplace at this time. It was the cataclysm of the exploding depth charges, that turned an incident into a tragedy.
The court concurred, and Commander Berry was released from arrest and restored to duty.
Thirty three men were killed on USS Manley and 30 killed on the Motagua.
Lost on USS Manley
Brewer, Edward, Elias. GM2c USN
Burke, Richard, WT USN
Cohen, Louis, BM1c USN
Corcoran, Timothy, Francis Sea USN
Dreja, Nicholas, M. MM2c USN
Edds, William, W. F2c USN
Fleming, Allen, Jr. Sea USN
Hall, Cecil Sea USN
Hartman, George, Clyde E1c USN
Hartman, Lester, Orin. F1c USN
Herdman, Albert, Van Nulton. Cox USN
Holmes, John Charles. CM1c USN
Ishum, Elmer, Clarke F2c USN
Johnson, Albert, L. Oil USNRF
Jones, Julius,Robert. F2c USN
Klahre, Charles, Herbert MM1c USN
Kurdt, Martin, Charles CMM USN
Lobmeyer, Henry Frederick. MM2c USN
Lowder, John, David,Jr. F1c USN
Magoni, Charles WT USN
Malewitz, Joseph, W. F2c USN
Mann, Claude. Oil USN
McGowan, Michael, Francis, Bsmith1c USN
Miller, William,Harrison. Bmkr USN
Mitchell, Eugene,Davis. F1c USN
O’Donnell, John, Joseph. Sea2c USN
Ross, Albert, A. --- USNRF
Rozanski, Martin. Sea USN
Shaw, Lamorn. F1c USN
Sullivan, Edward, Vincent. Csmith1c USN
Ward, Charlie. F1c USN
Watson, Ralph, Carelton. Eng USN
Wood, William, Henry. GM3c USN
Injured
Cagle, Charley, W. F2c USN
Cardin, John, Leo. F1c USNRF
Cecil, Albert, Wallace F1c USNRF
Christie, Ralph, Horton Y1c USN
Dechenne, Clarence, Fred F2c USN
Dwight, Charles, Dudley, Sea FNR
Gallman, Richard, E. Sea2c USN
Gumm, John, Frank. F1c USN
Hanson, Frederick. Cox USN
Holzhauer, George, J. WT USN
Johnston, William, Adren. SC4c USN
Landwher,Edward, Chester. Lds.E.(R) USN
Lawson, Fred, R. Eng1c USN
Mercer, John,D. F2c USN
Morse, Kirk, W. CGM USN
Nelson, Earl, P. E3c(R) USNRF
Peters, Edward, Henry Sea FNR
Pierce, Charles Eng2c USN
Russell, Carl, C. Sea USN
Russell, Edward,F. Sea2c USN
Sinock, William, SC3c USN
Diggs, Isaac, Matt1c USN
Lost on HMS Motagua
Lee Wm, J. Gunner RN
Wood Charles, S. Acting Lieut RNR
E.Beaney, Ernest Private RMLI
Brown Francis S. Private RMLI
Carver Ed J. Private RMLI
Powell Albert Private RMLI
Wykes G. V. Private RMLI
Oram Bertie Private RMLI
Levett Percy E. Private RMLI
Wyatt Albert W. Private RMLI
Rowland Harold C. Sub Lieut RNVR
Harris Albert Armed Crew RN
Hands George Ord Seaman RNVR
McMillan John Private RMLI
Pearson Richard, R. PO, RN.
Mercantile Marine Ratings
Logan Robert Fireman
McMenamin John Greaser
Kerr Thomas Greaser
Raidy James Greaser
Turley Thomas Fireman
Gorman George Fireman
Nolan Edward Trimmer
Mc Cracken John J. Trimmer
Rowland Harold C. Sub-Lieutenant RNR
Hands George Ord Sea RNVR
Wilkin Clive Ord Sea RNVR
Wells Ernest Ord Sea RNVR
Jennings Frederick Ord Sea RNVR
Pollock Robert S. Greaser MMR
Injured
Richard Rogers W/Tel RNR
Arthur Swinglehurst W/Tel RNR
SHIPS COMPANY
Charles Hills PO CG
Alfred Purkis Carpenters mate Pens
Stephen A.Davis PO CG
John H. Slater PO Pens
Donald MacKenzie Ldg sea RFR
Henry Podesta AB RFR
John Stallard AB RFR
Thomas Budd AB RFR
Frederick Newland AB RNFR
Smith Dean Ord Sea RNVR
Frank Carter Private RFR, RMLI
Albert J.Field Bugler, RMLI
Alfred Monney Corporal RMLI
Frederick J. Honour Colr Sergt, RMLI
MM RATINGS
Ernest Bliss Chief Carpenter
Samuel Watkins Fireman
William Mansfield Dyman’s Mate
Robert J. Pollock Fireman
Thomas Gallagher Fireman
George Ross Fireman
Samuel Chalmers Fireman
William Mills Fireman
Willaim R. McNae Fireman
Patrick Coughlin Trimmer
J.H.Longworth Fireman
George V.Hunter Trimmer
E. Edwards Assistant Steward
Alfred W.Edwards Assistant Steward
Notes:
Commanding Officer, Commander R.L Berry
The US Naval History and Heritage Website has a comprehensive history of this ship, which can be found at
www.history.navy.mil/research/histories/ship-histories/da...
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Friday track action at the 2022 Spa Six Hours: the John Allen/Geoff Turral/David Keers-Trafford MGB powering out of Fagnes.
Find more pictures and a comprehensive report at 8W.