Where Do Mermaids Come From?

Where do mermaids come from? Mermaid legends are told all over the world. We hear of mermaids in Ireland, Scotland, England, Israel, India, Greece, Syria, China, and in Africa. How is it that so many different cultures across the world have their own mermaid legends? How is it that cultures far away from one another have similar tales of mermaids? Most people believe mermaids are mythical creatures fit for a kid’s imagination and nothing more. But legends come from somewhere. Truth lies behind every legend, including the legends of mermaids and where they come from. A new age concept tells us mermaid origins come from lost civilizations like Lemuria and Atlantis. Learn more below.

 

Edgar Cayce on Atlantis I

364-1

2. Atlantis as a continent is a legendary tale. Whether or not that which has been received through psychic sources has for its basis those few lines given by Plato, or the references made in Holy writ that the earth was divided, depends upon the trend of individual minds. Recently, however, the subject has taken on greater import, since some scientists have declared that such a continent was not only a reasonable and plausible matter, but from evidences being gradually gathered was a very probable condition.

3. As we recognize, there has been considerable given respecting such a lost continent by those channels such as the writer of Two Planets, or Atlantis - or Poseida and Lemuria - that has been published through some of the Theosophical literature. As to whether this information is true or not, depends upon the credence individuals give to this class of information.

4. Then, it has seemed well to many of this group, that those channels through which information may be obtained interest themselves in such an undertaking, as to gain through those channels such information that might be applicable in the lives or experiences of individuals interested in such.

5. From time to time, in and through the information obtained for some individuals in their life readings, has come that they, as an entity or individual, occupied some particular place, or performed some activity in some portion of that continent; or emigrated from the continent to some other portion of the earth's surface at the time, and began some particular development. These must have been a busy folk, for with their advent into other climes (as the information runs) they began to make many changes from the activities in that particular sphere in which they entered.

6. Then, if we are to accept such as being a fact or fiction, may truly depend upon what value to the human family knowledge concerning such a peoples would be in the affairs of individuals today. What contribution would information be to the minds of individuals, as to knowing or understanding the better or closer relations to the Creative Forces? Or, to put it another manner, what would information of that nature mean to my SOUL today?

7. Be it true that there IS the fact of reincarnation, and that souls that once occupied such an environ are entering the earth's sphere and inhabiting individuals in the present, is it any wonder that - if they made such alterations in the affairs of the earth in their day, as to bring destruction upon themselves - if they are entering now, they might make many changes in the affairs of peoples and individuals in the present? Are they, then, BEING born into the world? If so, what WERE their environs - and will those environs mean in a material world today?

 

364-3

1. EC: Yes, we have the subject and those conditions. As has been said, much data has been received from time to time through psychic forces as respecting conditions in or through the period, or ages, of this continent's existence. That the continent existed is being proven as a fact.

2. Then, what took place during the period, or periods, when it was being broken up? What became of the inhabitants? What was the character of their civilization? Are there any evidences of those, or any portion of, the inhabitants' escape? The POSITION of the continent, and the like, MUST be of interest to peoples in the present day, if either by inference that individuals are being born into the earth plane to develop in the present, or are people being guided in their spiritual interpretation of individuals' lives or developments BY the spirits of those who inhabited such a continent. In either case, if these be true, they ARE WIELDING - and are to wield - an influence upon the happenings of the present day world.

3. The position as the continent Atlantis occupied, is that as between the Gulf of Mexico on the one hand - and the Mediterranean upon the other. Evidences of this lost civilization are to be found in the Pyrenees and Morocco on the one hand, British Honduras, Yucatan and America upon the other. There are some protruding portions within this that must have at one time or another been a portion of this great continent. The British West Indies or the Bahamas, and a portion of same that may be seen in the present - if the geological survey would be made in some of these - especially, or notably, in Bimini and in the Gulf Stream through this vicinity, these may be even yet determined.

4. What, then, are the character of the peoples? To give any proper conception, may we follow the line of a group, or an individual line, through this continent's existence - and gain from same something of their character, their physiognomy, and their spiritual and physical development.

5. In the period, then - some hundred, some ninety-eight thousand years before the entry of Ram into India [See 364-3, Par. R2] - there lived in this land of Atlantis one Amilius [?], who had first NOTED that of the separations of the beings as inhabited that portion of the earth's sphere or plane of those peoples into male and female as separate entities, or individuals. As to their forms in the physical sense, these were much RATHER of the nature of THOUGHT FORMS, or able to push out OF THEMSELVES in that direction in which its development took shape in thought - much in the way and manner as the amoeba would in the waters of a stagnant bay, or lake, in the present. As these took form, by the gratifying of their own desire for that as builded or added to the material conditions, they became hardened or set - much in the form of the existent human body of the day, with that of color as partook of its surroundings much in the manner as the chameleon in the present. Hence coming into that form as the red, or the mixture peoples - or colors; known then later by the associations as the RED race. These, then, able to use IN their gradual development all the forces as were manifest in their individual surroundings, passing through those periods of developments as has been followed more closely in that of the yellow, the black, or the white races, in other portions of the world; yet with their immediate surroundings, with the facilities for the developments, these became much speedier in this particular portion of the globe than in others - and while the destruction of this continent and the peoples are far beyond any of that as has been kept as an absolute record, that record in the rocks still remains - as has that influence OF those peoples in that life of those peoples to whom those that did escape during the periods of destruction make or influence the lives of those peoples TO whom they came. As they MAY in the present, either through the direct influence of being regenerated, or re-incarnated into the earth, or through that of the MENTAL application on through the influences as may be had upon thought OF individuals or groups by speaking from that environ.

6. In the MANNER of living, in the manner of the moral, of the social, of the religious life of these peoples: There, classes existed much in the same order as existed among others; yet the like of the warlike INFLUENCE did NOT exist in the peoples - AS a people - as it did in the OTHER portions of the universe.

 

364-4

2. EC: Yes, we have the subject here, The Lost Continent of Atlantis.

3. As the peoples were a peaceful peoples, their developments took on rather that form - with the developing into the physical material bodies - of the fast development, or to the using of the elements about them to their own use; recognizing themselves to be a part OF that about them. Hence, as to the supplying of that as necessary to sustain physical life as known today, in apparel, or supplying of the bodily needs, these were supplied through the natural elements; and the DEVELOPMENTS came rather in the forms - as would be termed in the PRESENT day - of preparing for those things that would pertain to what would be termed the aerial age, or the electrical age, and supplying then the modes and manners of transposition of those materials about same that did not pertain to themselves bodily; for of themselves was transposed, rather by that ability lying within each to be transposed in thought as in body.

4. In these things, then, did Amilius [?] see the beginning of, and the abilities of, those of his own age, era, or period, not only able to build that as able to transpose or build up the elements about them but to transpose them bodily from one portion of the universe to the other, THROUGH the uses of not only those RECENTLY re-discovered gases, and those of the electrical and aeriatic formations - in the breaking up of the atomic forces to produce impelling force to those means and modes of transposition, or of travel, or of lifting large weights, or of changing the faces or forces of nature itself, but with these transpositions, with these changes that came in as personalities, we find these as the Sons of the Creative Force as manifest in their experience looking upon those changed forms, or the daughters of men, and there crept in those pollutions, of polluting themselves with those mixtures that brought contempt, hatred, bloodshed, and those that build for desires of self WITHOUT respects of OTHERS' freedom, others' wishes - and there began, then, in the latter portion of this period of development, that that brought about those of dissenting and divisions among the peoples in the lands. With the attempts of those still in power, through those lineages of the pure, that had kept themselves intact as of the abilities of forces as were manifest IN their activities, these BUILDED rather those things that ATTEMPTED to draw BACK those peoples; through first the various changes or seasons that came about, and in the latter portion of the experience of Amilius [?] was the first establishing of the altars upon which the sacrifices of the field and the forest, and those that were of that that SATISFIED the desires of the physical body, were builded.

5. Then, with the coming in or the raising up of Esai [?], with the change that had come about, began in that period when there were the invasions of this continent by those of the animal kingdoms, that brought about that meeting of the nations of the globe to PREPARE a way and manner of disposing of, else they be disposed of themselves by these forces. With this coming in, there came then the first of the destructive forces as could be set and then be meted out in its force or power. Hence that as is termed, or its first beginning of, EXPLOSIVES that might be carried about, came with this reign, or this period, when MAN - or MEN, then - began to cope with those of the beast form that OVERRAN the earth in many places. Then, with these destructive forces, we find the first turning of the altar fires into that of sacrifice of those that were taken in the various ways, and human sacrifice began. With this also came the first egress of peoples to that of the Pyrenees first, OF which later we find that peoples who enter into the black or the mixed peoples, in what later became the Egyptian dynasty. We also find that entering into Og, or those peoples that later became the beginning of the Inca, or Ohum [Aymara'?], that builded the walls across the mountains in this period, through those same usages of that as had been taken on by those peoples; and with the same, those that made for that in the other land, became first those of the mound dwellers, or peoples in that land. With the continued disregard of those that were keeping the pure race and the pure peoples, of those that were to bring all these laws as applicable to the Sons of God, man brought in the destructive forces as used for the peoples that were to be the rule, that combined with those natural resources of the gases, of the electrical forces, made in nature and natural form the first of the eruptions that awoke from the depth of the slow cooling earth, and that portion now near what would be termed the Sargasso Sea first went into the depths. With this there again came that egress of peoples that aided, or attempted to assume control, yet carrying with them ALL those forms of Amilius [?] that he gained through that as for signs, for seasons, for days, for years. Hence we find in those various portions of the world even in the present day, some form of that as WAS presented by those peoples in THAT great DEVELOPMENT in this, the Eden of the world.

6. In the latter portion of same we find as CITIES were builded more and more rare became those abilities to call upon rather the forces in nature to supply the needs for those of bodily adornment, or those of the needs to supply the replenishing of the wasting away of the physical being; or hunger arose, and with the determinations to set again in motion, we find there - then Ani [?] [See the name ANI mentioned on pp. 6, 57, 187 and 324 of the book, MYTHS & LEGENDS OF ANCIENT EGYPT, by Lewis Spence.] [GD's note: I put a question mark because I didn't know whether this was the correct spelling or not.], in those latter periods, ten thousand seven hundred (10,700) years before the Prince of Peace came - again was the bringing into forces that to TEMPT, as it were, nature - in its storehouse - of replenishing the things - that of the WASTING away in the mountains, then into the valleys, then into the sea itself, and the fast disintegration of the lands, as well as of the peoples - save those that had escaped into those distant lands.

7. How, then, may this be applicable to our present day understanding? As we see the effects as builded in that about the sacred fires, as through those of Hermes, those of Arart, those of the Aztec, those of Ohum [Aymara'?], each in their respective sphere CARRYING some portion of these blessings - when they are kept in accord and PURE with those through which the channels of the blessings, of the Creative Forces, may manifest. So, we find, when we apply the lessons in the day - would ye be true, keep that EVERY WHIT thou KNOWEST to do within thine own heart! Knowing, as ye USE that as is KNOWN, there is given the more and more light to know from whence ye came and whither ye go!

8. Ready for questions.

9. (Q) Please give a description of the earth's surface as it existed at the time of Atlantis' highest civilization, using the names of continents, oceans and sections of same as we know them today?

(A) As to the highest point of civilization, this would first have to be determined according to the standard as to which it would be judged - as to whether the highest point was when Amilius [?] ruled with those understandings, as the one that understood the variations, or whether they became man made, would depend upon whether we are viewing from a spiritual standpoint or upon that as a purely material or commercial standpoint; for the variations, as we find, extend over a period of some two hundred thousand years (200,000) - that is, as light years - as known in the present - and that there were MANY changes in the surface of what is now called the earth. In the first, or greater portion, we find that NOW known as the southern portions of South America and the Arctic or North Arctic regions, while those in what is NOW as Siberia - or that as of Hudson Bay - was rather in that region of the tropics, or that position now occupied by near what would be as the same LINE would run, of the southern Pacific, or central Pacific regions - and about the same way. Then we find, with this change that came first in that portion, when the first of those peoples used that as prepared FOR the changes in the earth, we stood near the same position as the earth occupies in the present - as to Capricorn, or the equator, or the poles. Then, with that portion, THEN the South Pacific, or Lemuria [?], began its disappearance - even before Atlantis, for the changes were brought about in the latter portion of that period, or what would be termed ten thousand seven hundred (10,700) light years, or earth years, or present setting of those, as set by Amilius [?] - or Adam.

 

364-5

2. EC: Yes, we have the information as given respecting the continent Atlantis. In the considerations that may be had concerning such information, many are the questions that must naturally arise in the minds of individuals who would consider same in any way or manner. However, will a very close check be kept upon those who evince an interest, these will be found to be those who occupy in the present some influence innate or manifested from their experience or sojourn under or in that environ. As has been given, this would be well to do; for to the analytical or to the research character of mind, there will be little that may escape the attention of such a mind - when spiritual or psychic, or occult, or those kindred subjects are approached - as to how quick there is the desire, that expression of "I know it, but don't know how to tell it, will be in that individual's or entity's feeling, and expression - when one may be obtained at all. They will immediately become the dreamer! Try this!

3. Ready for questions.

4. (Q) Explain the information given regarding Amilius [?], who first noted the separation of the peoples into male and female, as it relates to the story in the Bible of Adam and Eve, in the Garden of Eden giving the name of the symbols Adam, Eve, the apple, and the serpent.

(A) This would require a whole period of a lecture period for this alone; for, as is seen, that as is given is the presentation of a teacher of a peoples that separated for that definite purpose of keeping alive in the minds, the hearts, the SOUL minds of entities, that there may be seen their closer relationship to the divine influences of Creative Forces, that brought into being all that appertains to man's indwelling as man in the form of flesh in this material world. These are presented in symbols of that thought as held by those peoples from whom the physical recorder took those records as compiled, with that gained by himself in and through the entering into that state where the entity's soul mind drew upon the records that are made by the passing of time itself in a material world. As given, these are records not only of the nature as has been termed or called akashic records (that is, of a mental or soul record), but that in a more material nature as set down in stone, that was attempted to be done - HAS been attempted to be done throughout ALL time! WHY does man NOW set in stone those that are representatives of that desired to be kept in mind by those making records for future generations? There are many more materials more lasting, as is known to many.

In the records, then, as this: There are, as seen, the records made by the man in the mount, that this Amilius [?] - Adam, as given - first discerned that from himself, not of the beasts about him, could be drawn - WAS drawn - that which made for the propagation OF beings IN the flesh, that made for that companionship as seen by creation in the material worlds about same. The story, the tale (if chosen to be called such), is one and the same. The apple, as 'the apple of the eye', the desire of that companionship innate in that created, as innate in the Creator, that brought companionship into the creation itself. Get that one!

In this there comes, then, that which is set before that created - or having TAKEN ON that form, able of projecting itself in WHATEVER direction it chose to take, as given; able to make itself OF that environ, in color, in harmony, in WHATEVER source that makes for the spirit of that man would attempt to project in music, in art, in ANY form that may even be conceivable to the mind itself in what may be termed its most lucid moments, in its most esoteric moments, in its highest animation moments; for were He not the SON of the living God made manifest, that He might be the companion in a made world, in material manifested things, with the injunction to subdue all, BRING all in the material things under subjection - all UNDER subjection - by that ability to project itself IN its way? KNOWING itself, as given, to be a portion OF the whole, in, through, of, by the whole? In this desire, then, keep - as the injunction was - thine self separate: OF that seen, but NOT that seen. The apple, then, that desire for that which made for the associations that bring carnal-minded influences of that brought as sex influence, known in a material world, and the partaking of same is that which brought the influence in the lives of that in the symbol of the serpent, that made for that which creates the desire that may be only satisfied in gratification of carnal forces, as partake of the world and its influences about same - rather than of the spiritual emanations from which it has its source. Will control - inability of will control, if we may put it in common parlance.

 

364-6

1. GC: You will have before you the material and information given through this channel on the lost continent of Atlantis, a copy of which I hold in my hand. You will answer the questions which I will ask regarding this:

2. EC: Yes, we have the information as written here, as given. In following out that as just given, with these changes coming in the experience of Amilius [?] and I [Ai? Ay?], Adam and Eve, the knowledge of their position, or that as is known in the material world today as desires and physical bodily charms, the understanding of sex, sex relationships, came into the experience. With these came the natural fear of that as had been forbidden, that they know themselves to be a part of but not OF that as partook of EARTHLY, or the desires in the manner as were ABOUT them, in that as had been their heritage.

3. Were this turned to that period when this desire, then, becomes consecrated in that accomplished again in the virgin body of the mother of the SON of man, we see this is then crystallized into that, that even that of the flesh may be - with the proper concept, proper desire in all its purity - consecrated to the LIVING forces as manifest by the ability in that body so brought into being, as to make a way of escape for the ERRING man. Hence we have found throughout the ages, so oft the times when conception of truth became rampant with free-love, with the desecration of those things that brought to these in the beginning that of the KNOWLEDGE of their existence, as to that that may be termed - and betimes became - the MORAL, or morality OF a people. Yet this same feeling, this same exaltation that comes from association of kindred bodies - that have their lives consecrated in a purposefulness, that makes for the ability of retaining those of the essence of creation in every virile body - can be made to become the fires that light truth, love, hope, patience, peace, harmony; for they are EVER the key to those influences that fire the imaginations of those that are gifted in ANY form of depicting the high emotions of human experience, whether it be in the one or the other fields, and hence is judged by those that may not be able, or through desire submit themselves - as did Amilius [?] and I [?] to those ELEMENTS, through the forces in the life as about them.

7. (Q) How large was Atlantis during the time of Amilius?

(A) Comparison, that of Europe including Asia in Europe - not Asia, but Asia in Europe - see? This composed, as seen, in or after the first of the destructions, that which would be termed now - with the present position - the southernmost portion of same - islands as created by those of the first (as man would call) volcanic or eruptive forces brought into play in the destruction of same.

8. (Q) Was Atlantis one large continent, or a group of large islands?

(A) Would it not be well to read just that given? Why confuse in the questionings? As has been given, what would be considered one large continent, until the first eruptions brought those changes - from what would now, with the present position of the earth in its rotation, or movements about its sun, through space, about Arcturus, about the Pleiades, that of a whole or one continent. Then with the breaking up, producing more of the nature of large islands, with the intervening canals or ravines, gulfs, bays or streams, as came from the various ELEMENTAL forces that were set in motion by this CHARGING - as it were - OF the forces that were collected as the basis for those elements that would produce destructive forces, as might be placed in various quarters or gathering places of those beasts, or the periods when the larger animals roved the earth - WITH that period of man's indwelling. Let it be remembered, or not confused, that the EARTH was peopled by ANIMALS before peopled by man! First that of a mass, which there arose the mist, and then the rising of same with light breaking OVER that as it SETTLED itself, as a companion of those in the universe, as it began its NATURAL (or now natural) rotations, with the varied effects UPON the various portions of same, as it slowly - and is slowly - receding or gathering closer to the sun, from which it receives its impetus for the awakening of the elements that give life itself, by radiation of like elements from that which it receives from the sun. Hence that of one type, that has been through the ages, of mind - that gives the SUN as the father OF light in the earth. Elements have their attraction and detraction, or those of ANIMOSITY and those of gathering together. This we see throughout all of the kingdoms, as may be termed, whether we speak of the heavenly hosts or of those of the stars, or of the planets, or of the various forces within any or all of same, they have their attraction or detraction. The attraction increases that as gives an impulse, that that becomes the aid, the stimuli, or an impulse to create. Hence, as may be seen - or may be brought to man's own - that of attraction one for another gives that STIMULI, that IMPULSE, to be the criterion of, or the gratification of, those influences in the experience of individuals or entities. To smother same oft becomes deteriorations for each other, as may come about in any form, way or manner. Accidents happen in creation, as well as in individuals' lives! Peculiar statement here, but - true!

9. (Q) What were the principal islands called at the time of the final destruction?

(A) Poseidia and Aryan [?], and Og [?].

10. (Q) Describe one of the ships of the air that was used during the highest period of mechanical development in Atlantis.

(A) Much of the nature, in the EARLIER portion, as would be were the hide of MANY of the pachyderm, or elephants, many into the CONTAINERS for the gases that were used as both lifting and for the impelling of the crafts about the various portions of the continent, and even abroad. These, as may be seen, took on those abilities not only to pass through that called air, or that heavier, but through that of water - when they received the impetus from the NECESSITIES of the peoples in that particular period, for the safety of self. The shape and form, then, in the earlier portion, depended upon which or what skins were used for the containers. The metals that were used as the braces, these were the COMBINATIONS then of what is NOW a lost art - the TEMPERED brass, the temperament of that as becomes between aluminum (as now called) and that of uranium, with those of the fluxes that are from those of the COMBINED elements of the iron, that is carbonized with those of other fluxes - see? These made for lightness of structure, non-conductor OR conductors of the electrical forces - that were used for the IMPELLING of same, rather than the gases - which were used as the lifting. See? For that as in the NATURE'S forces may be turned into even the forces OF that that makes life, as given, from the sun rays to those elements that make for, or find CORRESPONDING reaction in their APPLICATION of same, or reflection of same, TO the rays itself - or a different or changed form of storage of FORCE, as called electrical in the present.

11. We are through for the present.

 

364-7

3. (Q) How is the legend of Lilith connected with the period of Amilius?

(A) In the beginning, as was outlined, there was presented that that became as the Sons of God, in that male and female were as one, with those abilities for those changes as were able or capable of being brought about. In the changes that came from those THINGS, as were of the projections of the abilities of those entities to project, this as a being came as the companion; and when there was that turning to the within, through the sources of creation, as to make for the helpmeet of that as created by the first cause, or of the Creative Forces that brought into being that as was made, THEN - from out of self - was brought that as was to be the helpmeet, NOT just companion of the body. Hence the legend of the associations of the body during that period before there was brought into being the last of the creations, which was not of that that was NOT made, but the first of that that WAS made, and a helpmeet to the body, that there might be no change in the relationship of the SONS of God WITH those relationships of the sons and daughters of men.

In this then, also comes that as is held by many who have reached especially to that understanding of how NECESSARY, then, becomes the PROPER mating of those souls that may be the ANSWERS one to another of that that may bring, through that association, that companionship, into being that that may be the more helpful, more sustaining, more the well- ROUNDED life or experience of those that are a PORTION one of another. Do not misinterpret, but knowing that all are OF one - yet there are those divisions that make for a CLOSER union, when there are the proper relationships brought about. As an illustration, in this:

In the material world we find there is in the mineral kingdom those elements that are of the nature as to form a closer union one with another, and make as for compounds as make for elements that act more in unison with, or against, other forms of activity in the experience in the earth's environ, or the earth's force, as makes for those active forces in the ELEMENTS that are ABOUT the earth. Such as we may find in those that make for the active forces in that of uranium, and that of ultramarine, and these make then for an element that becomes the more active force as with the abilities for the rates of emanation as may be thrown off from same. So, as illustrated in the union, then, of - in the PHYSICAL compounds - that as may vibrate, or make for emanations in the activities of their mental and spiritual, and material, or physical forces, as may make for a GREATER activity in this earth environ. Then, there may be seen that as is in an elemental, or compound, that makes for that as is seen in the material experience as to become an antipathy for other elements that are as equally necessary in the experience of man's environ as in the combination of gases as may produce whenever combined that called water, and its antipathy for the elements in combustion is easily seen or known in man's experience.

So in those unions of that in the elemental forces of creative energies that take on the form of man, either in that of man or woman, with its NATURAL or ELEMENTAL, see? ELEMENTAL forces of its vibration, with the union of two that vibrate or respond to those vibrations in self, create for that ideal that becomes as that, in that created, in the form - as is known as radium, with its fast emittal vibrations, that brings for active forces, principles, that makes for such atomic forces within the active principles of all nature in its active force as to be one of the elemental bases from which life in its essence, as an active principle in a material world, has its sources, give off that which is EVER good - unless abused, see? So in that may there be basis for THOSE forces, as HAS been, as IS sought, thought, or ATTAINED BY those who have, through the abilities of the vibrations, to make for a continued force in self as to meet, know, see, feel, understand, those sources from which such begets that of its kind, or as those that become as an antipathy for another, or as makes for those that makes for the variations in the tempering of the various elements, compounds, or the like; so, as is seen, THESE - then - the BASIS for those things as has been given here, there, in their various ways and manners, as to the companion of, and COMPANIONS of, that that first able - through its projection of itself and its abilities in the creation - to bring about that that was either of its OWN making, or creation, or that given in the beginning to BE the force THROUGH which there might BE that that would bring ever blessings, good, right, and love, in even the physical or material world. See?

4. (Q) How long did it take for the division into male and female?

(A) That depends upon which, or what branch or LINE is considered. When there was brought into being that as of the projection of that created BY that created, this took a period of evolutionary - or, as would be in the present year, fourscore and six year. That as brought into being as was of the creating OF that that became a portion of, OF that that was already created by the CREATOR, THAT brought into being as WERE those of the forces of nature itself. God said, "Let there be light" and there WAS light! God said, "Let there be life" and there WAS life!

5. (Q) Were the thought forms that were able to push themselves out of themselves inhabited by souls, or were they of the animal kingdom?

(A) That as created by that CREATED, of the animal kingdom. That created as by the Creator, with the soul.

6. (Q) What was meant by the Sons of the Highest in Atlantis and the second coming of souls to the earth, as mentioned in a life reading given thru this channel? [See 2802-1 on 5/18/25.]

(A) In this period or age, as was seen - There is fault of words here to PROJECT that as actually OCCURS in the FORMATIONS of that as comes about! There was, with the WILL of that as came into being through the correct channels, of that as created by the Creator, that of the CONTINUING of the souls in its projection and projection - see? while in that as was OF the offspring, of that as pushed itself INTO form to SATISFY, GRATIFY, that of the desire of that known as carnal forces of the SENSES, of those created, there continued to be the war one with another, and there were then - FROM the other SOURCES (worlds) the continuing entering of those that WOULD make for the keeping of the balance, as of the first purpose of the Creative Forces, as it magnifies itself in that given sphere of activity, of that that had been GIVEN the ABILITY to CREATE with its OWN activity - see? and hence the second, or the CONTINUED entering of souls into that known as the earth's plane during this period, for that activity as was brought about. Let's REMEMBER that as was given, in the second, third from Adam, or fourth, or from Amilius, there was "In that day did they CALL UPON the NAME of the Lord" - is right! and ever, when the elements that make for littleness, uncleanness, are crucified in the body, the SPIRIT of the Lord, of God, is present! When these are overbalanced, so that the body (physical), the mental man, the imagination of its heart, is evil, or his purpose is evil, then is that war continuing - as from the beginning. Just the continued warring of those things within self as from the beginning; for with these changes as brought SIN into the world, with same came the FRUITS of same, or the seed as of sin, which we see in the material world as those things that corrupt good ground, those that corrupt the elements that are of the compounds of those of the first causes, or elementals, and pests are seen - and the like, see? So does it follow throughout all creative forces, that the fruits of that as is active brings that seed that makes for the corrupting of, or the clearing of, in the activative forces of, that BEING acted upon.

7. (Q) What was meant by "As in the first Adam sin entered, so in the last Adam all shall be made alive?"

(A) Adam's entry into the world in the beginning, then, must become the savior OF the world, as it was committed to his care, "Be thou fruitful, multiply, and SUBDUE the earth!" Hence Amilius, Adam, the first Adam, the last Adam, becomes - then - that that is GIVEN the POWER OVER the earth, and - as in each soul the first to be conquered is self - then ALL THINGS, conditions and elements, are subject unto that self!

That a universal law, as may be seen in that as may be demonstrated either in gases that destroy one another by becoming elements of the same, or that in the mineral or the animal kingdom as may be found that destroy, or BECOME one WITH the other. Hence, as Adam given - the SON of God - so he MUST become that that would be able to take the world, the earth, back to that source from which it came, and ALL POWER is given in his keeping in the earth, that he has overcome; self, death, hell and the grave even, become subservient unto Him THROUGH the conquering of self in that made flesh; for, as in the beginning was the word, the Word WAS with God, the Word WAS God, the same was IN the beginning. The Word came and dwelt among men, the offspring of self in a material world, and the Word OVERCAME the world - and hence the world BECOMES, then, as the servant of that that overcame the world!

8. (Q) Please give the important re-incarnations of Adam in the world's history.

(A) In the beginning as Amilius, as Adam, as Melchizedek, as Zend [?], as Ur [?] [Enoch? GD's note: Perhaps Ur was prehistory person [364-9, Par. 3-A] who established Ur of the Chaldees? I don't think he was mentioned anywhere else in the readings as an incarnation of Jesus.], as Asaph [?] [Songs of Asaph? See Ps. 81:5 indicating that Joseph and Asaph were one and the same?], as Jesus [Jeshua] - Joseph - Jesus. [See 364-9, Par. 3-A.]

Then, as that coming into the world in the second coming - for He will come again and receive His own, who have prepared themselves through that belief in Him and acting in that manner; for the SPIRIT is abroad, and the time draws near, and there will be the reckoning of those even as in the first so in the last, and the last shall be first; for there is that Spirit abroad - He standeth near. He that hath eyes to see, let him see. He that hath ears to hear, let him hear that music of the coming of the Lord of this vineyard, and art THOU ready to give account of that THOU hast done with thine opportunity in the earth as the Sons of God, as the heirs and joint heirs of glory WITH the Son? Then make thine paths straight, for there must come an answering for that THOU hast done with thine Lord! He will not tarry, for having overcome He shall appear even AS the Lord AND Master. Not as one born, but as one that returneth to His own, for He will walk and talk with men of every clime, and those that are faithful and just in their reckoning shall be caught up with Him to rule and to do JUDGEMENT for a thousand years!

9. (Q) Describe some of the mental abilities that were developed by the Atlanteans at the time of their greatest spiritual development.

(A) Impossible to describe achievements physical in their spiritual development. The use of MATERIAL conditions and spiritual attributes in a material world would, and do, become that as are the miracles of the Son in the material world; for even as with Him in - and as He walked, whether in Galilee, in Egypt, in India, in France, in England, or America - there WERE those periods when the activities of the physical were as was what would be termed the everyday life of the SONS of God in the Atlantean or Eden experience; for as those brought the various changes from the highest of the SPIRITUAL development to the highest of the mental, then of the MATERIAL or physical developments, then the fall - see?

 

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Edgar Cayce on Atlantis II

364-10

1. GC: You will have before you the information given through this channel on the lost continent of Atlantis. You will please continue with this information, and answer the questions which I will ask regarding same.

2. EC: Yes. In understanding, then, in the present terminology, occult science, or psychic science - as seen, this was the natural or nature's activity in that experience, and not termed a science - any more than would be the desire for food by a new born babe. Rather the natural consequence. This explanation may of necessity take on some forms that may possibly be confusing at times, but illustrations may be made through the various types of occult science, or psychic manifestations, that may clarify for the student something of the various types of psychic manifestations in the present, as well as that that was natural in this period.

3. There is, as has been oft given, quite a difference - and much differentiation should be made - in mysticism and psychic, or occult science as termed today.

4. From that which has been given, it is seen that individuals in the beginning were more of thought forms than individual entities with personalities as seen in the present, and their projections into the realms of fields of thought that pertain to a developing or evolving world of matter, with the varied presentations about same, of the expressions or attributes in the various things about the entity or individual, or body, through which such science - as termed now, or such phenomena as would be termed - became manifest. Hence we find occult or psychic science, as would be called at the present, was rather the natural state of man in the beginning. Very much as (in illustration) when a baby, or babe, is born into the world and its appetite is first satisfied, and it lies sleeping. Of what is its dreams? That it expects to be, or that it has been? Of what are thoughts? That which is to be, or that which has been, or that which is? Now remember we are speaking - these were thought forms, and we are finding again the illustrations of same!

5. When the mental body (Now revert back to what you are calling science) - when the mental body, or mind, has had training, or has gone through a course of operations in certain directions, such individuals are called so-and-so minded; as one of an inventive turn, and trained; one of a statistician turn, and trained; one of a theologian turn, and trained; one of philosophical turn, and trained. Of what does the mind build? We have turned, then, to that that has become very material, for the mind constantly trained makes for itself MENTAL pictures, or makes for that as is reasoned with from its own present dimensional viewpoints - but the babe, from whence its reasoning? from whence its dream? From that that has been taken in, or that that has been its experience from whence it came? Oft has it been said, and rightly, with a babe's smile 'Dreaming of angels', and close in touch with them - but what has PRODUCED that dream? The contact with that upon which IT has fed! Don't forget our premise now from which we are reasoning! and we will find that we will have the premise from which those individuals, or the entities, reasoned within the beginning in this land. (We are speaking of Atlanteans, when they became as thought forces.) From whence did THEY reason? From the Creative Forces from which they had received their impetus, but acted upon by the thought FORMS as were in MATERIAL forms about them, and given that power (will) to be one WITH that from what it sprang or was given its impetus, or force, yet with the ability to USE that in the way that seemed, or seemeth, good or well, or pleasing, unto itself. Hence we find in this particular moulding or mouldive stage, that in which there was the greater development of, and use of, that as is termed or called psychic and occult forces, or science - in the present terminology, or age.

6. Illustrating, then, that as to how this was used by those entities, those beings, in the formative stage of their experience or sojourn among that as had been created in all of its splendor to supply every want or desire that might be called forth by that being, with all of its attributes physical, mental AND SPIRITUAL at hand; for, as has been given, even unto the four hundred thousandth generation from the first creation was it prepared for man's indwelling. As we today (turn to today), we find there the developments of those resources. How long have they remained? Since the beginning! How long has man been able to use them for his undoing, or his pleasure, or for his regeneration? Since the knowledge of some source has awakened within its psychic force, or source, of the apparatus, or the form that it takes, either in a physical or mental (for remember, Mind is the Builder - and it moves along those channels through which, and by which, it may bring into existence in whatever dimension or sphere from which it is reasoning, or reasoning toward - see) - and as these may be illustrated in the present:

7. When there is a manifestation of a psychic force, or an occult action, or phenomena, or activity in, upon, of or for, an individual, there is then the rolling back, as it were, or a portion of the physical consciousness - or that mental trained individual consciousness - has been rolled aside, or rolled back, and there is then a visioning - To what? That as from the beginning, a projection OF that form that assumed its position or condition in the earth as from the beginning, and with those so endowed with that as may be called an insight into psychic sources there may be visioned about a body its astral (if chosen to be termed), rather its THOUGHT body, as is projected FROM same in such a state; especially so when there is the induction, or the inducing of, an unconsciousness of the normal brain, or normal mental body. Submerged - into what? Into the unconscious, or subconscious. Sub, in THIS instance, meaning BELOW - not above normal; below - SUBJECTED to the higher consciousness, or to the higher thought, that has been builded - just as sure as has a physical body been builded, from what?

That as has been given from its first nucleus as passed through in its experience. Then there may be visioned by such a body, as may be called with the second sight, or with a vision, that accompanying thought body of such an one, manifesting in much the way and manner as individuals in the Atlantean period of psychic and occult development brought about in their experience. Through such projections there came about that first necessity of the division of the body, to conform to those necessities of that as seen in its own mental vision as builded (MENTAL now - Don't confuse these terms, or else you will become VERY confused in what is being given!).

8. The mental vision by its action upon what body is being builded? On the mental body of the individual in a material world, out of Spirit, out of the ability to have all the attributes of the spiritual or unseen forces - but MATERIALIZED forces, as is necessary from the mental body in a material world MENTALLY trained to, or in, certain directions, or given directions, or following the natural bent of its threefold or threeply body, as is seen in every individual or every entity. As these projected themselves, then we find these DEVELOPMENTS were in this portion of the development in the Atlantean period. How were these used? In much as were from the beginning. Remember there was ever the instruction to those peoples that were to hold to that that would bring for the spiritual forces, rather than the abuses of the abilities - as those with familiar spirits, as those that spoke to or partook of the divinations of those that had passed from the earth's plane, or those that partook of the animal magnetism - that came from the universal consciousness of animal matter as passed into its experience, in its interchange through those periods of integration and disintegration - and the spirit forces possessing those that would lay themselves open to such conditions, for these are as real as physical bodies if the attunements of the entity are such that it may vision them! and they are about you always, sure! These, then, are entities - sure; whether animal or those endowed with the soul - until they pass through those changes - as there ever has been, see? Also there are those that ever make for those channels in the psychic and occult (we are speaking of, through which man - as it reached that stage, or that position that it became farther and farther from its natural sources, through the same CHARACTER of channel may it communicate with that from which it is a portion of, or the Creative Forces), and hence the terminology arose as 'Good Spirits' and 'Bad Spirits'; for there are those that partake of the earth, or of the carnal forces, rather than of those forces that are of the spiritual or CREATIVE. Those that are destruction are of the Earth. Those that are constructive, then, are the good - or the divine and the devilish, bringing for those developments in their various phases. Hence the greater development of that called occult, or psychic forces, during the Atlantean period - and the use of same, and the abuse of same - was during its first thousand years, as we would call light years; not the light of the star, but the sun goes down and the sun goes down - years. That brought about those cycles, or those changes. Hence we have that which has been given through many of the sources of information, or the channels for individuals - and in those, these, the entity - as a voice upon waters, or as the wind that moved among the reeds and harkened, or again as when the morning stars sang together and the sons of God beheld the coming of man into his own, through the various realms as were brought by the magnifying of, or the deteriorating of, the use of those forces and powers as manifested themselves in a MATERIAL area, or those that partook of carnal to the gratification of that that brought about its continual HARDENING and less ability to harken back through that from WHICH it came, and partaking more and more OF that upon which it became an eater of; or, as is seen even in the material forces in the present: We find those that partake of certain elements, unless these become very well balanced WITH all SOURCES - Of what? That of which there were the first causes, or nature, or natural, or God's sources or forces are. Hence ELEMENTS - not rudiments; elements - as are termed in the terminology of the student of the anatomical, physiological, psychological forces within a body - GERMS! Sure they are germs! for each are as atoms of power - From what? That source from which it has drawn its essence upon what it feeds. Is one feeding, then, its soul? or is one feeding its body? or is one feeding that interbetween (its mental body) to its own undoing, or to those foolishnesses of the simple things of life? Being able, then, to partake OF the physical but not a part of same - but more and more feeding upon those sources from which it emanates itself, or of the SPIRITUAL life, so that the physical body, the mental body, are attuned TO its soul forces, or its soul source, its Creator, its Maker, in such a way and manner, as it develops.

9. What, then, IS psychic force? What IS occult science? A developing of the abilities within each individual that has not lost its sonship, or its relation to its Creator, to live upon - or demonstrate more and more through phenomena of whatever nature from which it takes its source, for that individual activity of that entity itself through the stages of development through which it has passed, and giving of its life source that there may be brought INTO being that which gives more knowledge of the source FROM which the entity ESSENCE (Isn't a good word, but signifies that intended to be expressed; not elements, not rudiments, but ESSENCE of the entity itself, ITS spirit and soul - its spirit being its portion of the Creator, its soul that of its entity itself, making itself individual, separate entity, that may be one WITH the Creative Force from which it comes - or which it is! of which it is made up, in its atomic forces, or in its very essence itself!) emanates; and the more this may be manifest, the greater becomes the occult force.

10. To what uses, then, did these people in this particular period give their efforts, and in what directions were they active? As many almost as there were individuals! for, as we find from the records as are made, to some there was given the power to become the sons of God; others were workers in brass, in iron, in silver, in gold; others were made in music, and the instruments of music. These, then, we find in the world today (Today, now - we are reasoning from today). Those that are especially gifted in art - in its various forms; and a real artist (as the world looks at it) isn't very much fit for anything else! yet it is - What? An expression of its concept OF that from WHICH it, that entity, sprang - through the various stages of its evolution (if you choose to call it such) in a material world, or that which it fed its soul or its mental being for its development through its varied experiences IN a material world. These, then, are but manifestations (occult forces) in individuals who are called geniuses, or gifted in certain directions.

11. These, then, are the manners in which the ENTITIES, those BEINGS, those SOULS, in the beginning partook of, or developed. Some brought about monstrosities, as those of its (that entity's) association by its projection with its association with beasts of various characters. Hence those of the Styx, satyr, and the like; those of the sea, or mermaid; those of the unicorn, and those of the various forms - these projections of what? The abilities in the PHYCHIC forces (psychic meaning, then, of the mental AND the soul - doesn't necessarily mean the body, until it's enabled to be brought INTO being in whatever form it may make its manifestation - which may never be in a material world, or take form in a three-dimensional plane as the earth is; it may remain in a fourth-dimensional - which is an idea! Best definition that ever may be given of fourth-dimension is an idea! Where will it project? Anywhere! Where does it arise from? Who knows! Where will it end? Who can tell! It is all inclusive! It has both length, breadth, height and depth - is without beginning and is without ending! Dependent upon that which it may feed for its sustenance, or it may pass into that much as a thought or an idea. Now this isn't ideal that's said! It's idea! see?)

12. In the use of these, then, in this material plane - of these forces - brought about those that made for all MANNERS of the various forms that are used in the material world today. MANY of them to a much higher development. As those that sought forms of minerals - and being able to be that the mineral was, hence much more capable - in the psychic or occult force, or power - to classify, or make same in its own classifications. Who classified them? They were from the beginning! They are themselves! They were those necessities as were IN the beginning from an ALL WISE Creator! for remember these came, as did that as was to be the keeper of same! The husbandman of the vineyard! Each entity, each individual - today, has its own vineyard to keep, to dress - For who? Its Maker, from whence it came! What is to be the report in thine own life with those abilities, those forces, as may be manifest in self - through its calling upon, through what? How does prayer reach the throne of mercy or grace, or that from which it emanates? From itself! Through that of CRUCIFYING, NULLIFYING, the carnal mind and opening the mental in such a manner that the Spirit of truth may flow in its psychic sense, or occult force, into the very being, that you may be one with that from which you came! Be thou faithful unto that committed into thy keeping! Life ITSELF is precious! For why? It is of the Maker itself! That IS the beginning! The psychic forces, the attunements, the developments, going TO that! As did many in that experience. And Enoch walked with God, and he was not for God took him. As was many of those in those first years, in this land, this experience.

13. These in the present, then, do not justly call it science; rather being close to nature. Listen at the birds. Watch the blush of the rose. Listen at the life rising in the tree. These serve their Maker - Through what? That psychic force, that IS Life itself, in their respective sphere - that were put for the service of man. Learn thine lesson, O Man, from that about thee!

 

364-11

1. GC: You will have before you the information given through this channel on the lost continent of Atlantis. You will continue with this information, and will answer the questions which I will ask regarding this:

2. EC: Yes. As to why, then, each individual must be, and is, the keeper of his own vineyard? For there is, as from the beginning, in each entity that - of the Father, or the First Cause - that enables one to make manifest even in the material world through the attributes OF the First Cause, that makes for the manifestation OF that power, or force, in a material world. As to what one does WITH same is an action of the will that entity himself, or herself.

3. As to occult or psychic science, as called, then - it is, as we have found through some manifestations, that these forces are first recognized in or by the individual. Hence, as has been seen, in the beginning these were the natural expressions of an entity. As there developed more of the individual association with material conditions, and they partook of same in such a manner as to become wholly or in part a portion OF same, farther - or more hidden, more unseen - has become occult or psychic manifestations. First there were the occasional harking back. Later by dream. Again we find individuals raised in certain sections for specific purposes. As the cycle has gone about, time and again has there arisen in the earth those that MANIFESTED these forces in a more magnificent, more beneficent, way and manner. And, as has been given, again the time draws near when there shall be seen and known among men, in many places, the manifestations of such forces in the material world; for "As ye have seen him go, so will He return again." Be thou faithful unto those words He has given while yet with you. Hence it behooves every individual to take cognizance of that force that may manifest in their material lives, even in this material age; for those that become ashamed for His sake - for THAT sake - of that that may manifest (which is as the Spirit's manner of activity) through those many channels that are open to those who will look up, lift up - and these, we find, are often in the lowliest of places and circumstances. Why? Since these are forces of the Most High, since these supplied - as of old - those secular things in abundance, and were supplied the needs not only of the physical being but of the mental and spiritual also, contributing to those forces as made for the gratification also of that builded in a material world, does it become any wonder that he that shall be abased and remains true shall wear the Crown of Life? Does it become unreasonable, then, that ye are being chastised for that which has been builded within the material forces of the body itself, that must be tried so as by fire? for the chaff must be burned out! Even as with the use of those sources of information, the abilities to become a portion of those elements that were the creative forces OF the compounds or elements within the universal forces, at that period brought about those forces that made for destruction of the land itself, in the attempt to draw that as was in man then back TO the knowledge; and these brought about those destructive forces (that are known today) in gases, with that called the death ray [See 364-11, Par. R2], that brought from the bowels of the earth itself - when turned into the sources of supply - those destructions to portions of the land. Man has ever (even as then) when in distress, either mental, spiritual OR physical, sought to know his association, his connection, with the divine forces that brought the worlds into being. As these are sought, so does the promise hold true - or that given man from the beginning, "Will ye be my children, I will be thy God!" "Ye turn your face from me, my face is turned from thee", and those things ye have builded in thine own endeavor to make manifest thine own powers bring those certain destructions in the lives of individuals in the present, even as in those first experiences with the use of those powers that are so tabu by the worldly-wise, that are looked upon as old men's tales and women's fables; yet in the strength of such forces do WORLDS come into being!

4. THIS is what psychic force, and so called occult science, DID mean, HAS meant, DOES mean in the world today.

5. Ready for questions.

6. (Q) Describe in more detail the causes and effects of the destruction of the part of Atlantis now the Sargasso sea.

(A) As there were those individuals that attempted to bring again to the mind of man more of those forces that are manifest by the closer association of the mental and spiritual, or the soul forces that were more and more as individual and personal forms in the world, the use of the these elements - as for the building up, or the passage of individuals through space - brought the uses of the gases then (in the existent forces), and the individuals being able to become the elements, and elementals themselves, added to that used in the form of what is at present known as the raising of the powers from the sun itself, to the ray that makes for disintegration of the atom, in the gaseous forces formed, and brought about the destruction in that portion of the land now presented, or represented, or called, Sargasso sea.

7. (Q) What was the date of the first destruction, estimating in our present day system of counting time in years B.C.?

(A) Seven thousand five hundred (7,500) years before the final destruction, which came as has been given.

8. (Q) Please give a few details regarding the physiognomy, habits, customs and costumes of the people of Atlantis during the period just before this first destruction.

(A) These, as we find, will require their being separated in the gradual development of the body and its physiognomy as it came into being in the various portions of that land, as well as to those that would separate themselves from those peoples where there were the indwelling of peoples, or man - as man, in the various areas of the land, or what we call world.

In the matter of form, as we find, first there were those as projections from that about the animal kingdom; for the THOUGHT bodies gradually took form, and the various COMBINATIONS (as may be called) of the various forces that called or classified themselves as gods, or rulers over - whether herds, or fowls, or fishes, etc. - in PART that kingdom and part of that as gradually evolved into a physiognomy much in the form of the present day may (were one chosen of those that were, or are, the nearest representative of the race of peoples that existed in this first period as the first destructions came about). These took on MANY sizes as to stature, from that as may be called the midget to the giants - for there were giants in the earth in those days, men as tall as (what would be termed today) ten to twelve feet in stature, and in proportion - well proportioned throughout. The ones that became the most USEFUL were those as would be classified (or called in the present) as the IDEAL stature, that was of both male and female (as those separations had been begun); and the most ideal (as would be called) was Adam, who was in that period when he (Adam) appeared as five in one - See?

In this the physiognomy was that of a full head, with an extra EYE - as it were - in those portions that became what is known as the EYE. In the beginning these appeared in WHATEVER portion was desired by the body for its use!

As for the dress, those in the beginning were (and the Lord made for them coats) of the skins of the animals.

 

This poor lady is loosing her fur, with a severe case of mange. Add the hole in the ear, ticks, and other problems, and she is in rough shape. But despite all that, this bushbuck holds her head erect and is wary and alert. She looks rather dignified, despite all the troubles she has.

 

Copyright 2015 Dave Montreuil

This photo can be licensed via Shutterstock

North sea Kayak fishing in Heavy fog .Great to be out there in comfortable sea condition .With light sea and no wind we fished for hours looking for early spring cod .With visibility null we relied on our ears and listened to the far away coastal road making our way back not too difficult .Weekly kayaking adventure we love it and the fishing can only get better ..Watch the video . www.youtube.com/watch?v=P4BGydKcULY&list=UU_7Vzvq19MU...

The Simpsons is an American animated sitcom created by Matt Groening for the Fox Broadcasting Company. Developed by Groening, James L. Brooks, and Sam Simon, the series is a satirical depiction of American life, epitomized by the Simpson family, which consists of Homer, Marge, Bart, Lisa, and Maggie. Set in the fictional town of Springfield, it caricatures society, Western culture, television, and the human condition.

 

The family was conceived by Groening shortly before a solicitation for a series of animated shorts with producer Brooks. He created a dysfunctional family and named the characters after his own family members, substituting Bart for his own name; he thought Simpson was a funny name in that it sounded similar to "simpleton". The shorts became a part of The Tracey Ullman Show on April 19, 1987. After three seasons, the sketch was developed into a half-hour prime time show and became Fox's first series to land in the Top 30 ratings in a season (1989–1990).

 

Since its debut on December 17, 1989, 762 episodes of the show have been broadcast. It is the longest-running American animated series, longest-running American sitcom, and the longest-running American scripted primetime television series, both in seasons and individual episodes. A feature-length film, The Simpsons Movie, was released in theaters worldwide on July 27, 2007, to critical and commercial success, with a sequel in development as of 2018. The series has also spawned numerous comic book series, video games, books, and other related media, as well as a billion-dollar merchandising industry. The Simpsons is a joint production by Gracie Films and 20th Television.

 

On January 26, 2023, the series was renewed for its 35th and 36th seasons, taking the show through the 2024–25 television season. Both seasons contain a combined total of 51 episodes. Seven of these episodes are season 34 holdovers, while the other 44 will be produced in the production cycle of the upcoming seasons, bringing the show's overall episode total up to 801. Season 35 premiered on October 1, 2023.

 

The Simpsons received widespread acclaim throughout its early seasons in the 1990s, which are generally considered its "golden age". Since then, it has been criticized for a perceived decline in quality. Time named it the 20th century's best television series, and Erik Adams of The A.V. Club named it "television's crowning achievement regardless of format". On January 14, 2000, the Simpson family was awarded a star on the Hollywood Walk of Fame. It has won dozens of awards since it debuted as a series, including 35 Primetime Emmy Awards, 34 Annie Awards, and 2 Peabody Awards. Homer's exclamatory catchphrase of "D'oh!" has been adopted into the English language, while The Simpsons has influenced many other later adult-oriented animated sitcom television series.

 

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.

Nice view to wake-up to every day.

I've stopped by here only twice to take photos: once in March 2013, when I took this shot, and earlier in 2011. A couple of weeks ago (April 2014), my friend Rob said he thinks this derelict sign's been taken down. If it's definitely gone, then I definitely will miss seeing it. [Location: In Houston, Texas, on Sergeant Macario Garcia Drive at Avenue Q.]

 

Shot via Hipstamatic (John S lens, Blanko film) on iPhone 4.

 

MAY 4, 2014 UPDATE: I drove by this corner today and noticed the sign's gone.

Canadian Pacific train 390 was rolling along the Elgin Subdivision with CP AC4400CW 8506 with its front door wide open being passed by Metra F40C 607 at the B12 interlocking in Franklin Park in 2000.

 

This was not my best effort.

thespouge.wordpress.com/2012/10/29/strange-condition/

Austin, TX

Subways

Hawthorne, Nevada

Many, many air conditioning units on a tower block in Kennedy Town, Hong Kong

Henderson NV Heritage Museum. This is a blast from the past.

This is my condition...

 

Andy Martin - Visual Artist

Large Blue (Maculinea arion)

Daneway Banks Gloucestershire.

Present condition these slides/slippers are in now after being worn by Gigi for months. Gigi says there is still some life left in these so she will continue pounding them with her adorable feet with every step (2)

Company/Owner: AJU Global Transport Corporation

Fleet/Bus Number: 825

Classification: Air-conditioned Tourist Chartered Bus

Coachbuilder: Zyle Daewoo Bus Corporation

Body Model: Zyle Daewoo BH115E Royal Economy

Engine Model: Doosan DE12TiS

Chassis Model: Daewoo BH11E (KL5UN61JD4P)

Transmission: Manual (5-speed forward, 1-speed reverse)

Suspension: Leaf Spring Suspension

Seating Configuration: 2+1×2

Seating Capacity: 60 (49 + 11 jump-seats)

Route: Various (Tourist Chartered)

Municipalities/cities passing: N/A

Type of Operation: Tourist Operation Non-Public Utility Bus (Special Trip / Tourist Class)

Area of Operation: Any point of Luzon: Ilocos Region (Region I), Cagayan Valley (Region II), Central Luzon (Region III), CALABARZON (Region IV-A), MIMAROPA (Region IV-B), Bicol Region (Region V), Cordillera Administrative Region (CAR)

 

Shot Location: In-front of Barasoain Church, Malolos City, Bulacan

Date Taken: August 20, 2015

 

Notices:

* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.

** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.

*** The specifications mentioned above are subjected for verification and may be changed without prior notice.

**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.

Blythe SBL scalp (partially wefted) + Wavy burgandy weft (from an incomplete custom job). Scalp (regular skin tone) is in very good condition and was painted with acrylic paint to match the weft color.

Watch that first step…. Contax IIIa, Silberra Color 50, ECN-2 development.

Company/Owner: Victory Liner, Inc.

Fleet/Bus Number: 7078

Classification: Air-conditioned Provincial Bus

Coachbuilder: Santarosa Motor Works, Inc./Columbian Motors Corporation

Body Model: MAN/Santarosa Modulo R39

Engine Model: MAN D2066LOH12

Chassis Model: MAN 18.350 HOCL (PBMR39)

Transmission: Manual (6-speed forward, 1-speed reverse)

Suspension: Air Suspension

Seating Configuration: 2×2

Seating Capacity: 49

Route: Earnshaw, Sampaloc, Manila–Tuguegarao City, Cagayan via N1 (Maharlika Highway) / Emilio Vergara Highway or Felipe Vergara Highway

Municipalities/cities passing: Santa Rita (Guiguinto)/Plaridel/Pulilan/Baliuag/San Rafael/San Ildefonso/San Miguel/Gapan City/San Leonardo/Santa Rosa/Cabanatuan City/Talavera/Santo Domingo/Science City of Muñoz/San Jose City/Carranglan/Santa Fe/Aritao/Gabut (Dupax Del Sur)/Ineangan (Dupax Del Norte)/Bambang/Bayombong/Solano/Bagabag/Diadi/Cordon/Santiago City/San Isidro/Echague/Alicia/Cauayan City/Reina Mercedes/Naguilian/Gamu/Ilagan City/Tumauini/Cabagan/San Pablo/Peñablanca

Type of Operation: Provincial Operation Public Utility Bus (Regular Class)

Area of Operation: Cagayan Valley (Region II)

 

Shot Location: Doña Remedios Trinidad Highway (Maharlika Highway), Barangay Cut-cot, Pulilan, Bulacan

Date Taken: August 10, 2015

 

Notices:

* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.

** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.

*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.

**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.

this is a very unusual one, I do have a location picture but we were hit with very heavy for and it came out horrific. this is in good condition and undamaged. I wonder why it fell off

Went for a walk in the local woods it was drizzling but the fungi are loving it and appearing all over the place but still very few in pristine condition but still you can't have everything

 

Liked the way this one looked in the shadows

'O that this too too solid flesh would melt-

Thaw and resolve itself into a dew'

  

Detail of a painting I did. A superhuman being playing on the power lines.

Company/Owner: Victory Liner, Inc.

Fleet/Bus Number: 7021

Classification: Air-conditioned Provincial Bus

Coachbuilder: Almazora Motors Corporation

Body Model: MAN/Almazora Tourist Star Deluxe R39

Engine Model: MAN D2066LOH12

Chassis Model: MAN 18.350 HOCL (PBMR39)

Transmission: 6-speed Manual Transmission

Suspension: Electronically-Controlled Air Suspension (ECAS)

Seating Configuration: 2×2

Seating Capacity: 49

Route: Tuguegarao City, Cagayan–Cubao, Quezon City via N1 (Maharlika Highway) / Felipe Vergara Highway / Carmen–Cabanatuan Road / Santa Rosa–Tarlac Road)/ SCTEX-Amucao–NLEX--SCTEX Connector / Dau Access Road / NLEX-Dau–NLEX-Balintawak

Municipalities/cities passing: Peñablanca/San Pablo/Cabagan/Tumauini/Ilagan City/Gamu/Naguilian/Reina Mercedes/Cauayan City/Alicia/Echague/San Isidro/Santiago City/Cordon/Diadi/Bagabag/Solano/Bayombong/Bambang/Ineangan (Dupax del Norte)/Gabut (Dupax del Sur)/Aritao/Santa Fe/Carranglan/San Jose City/Science City of Muñoz/Santo Domingo/Talavera/Cabanatuan City/Aliaga/Zaragoza/La Paz/Tarlac City–Dau (Mabalacat City)

Type of Operation: Provincial Operation Public Utility Bus (Regular Class)

Area of Operation: Cagayan Valley (Region II)

 

Shot Location: Victory Liner Santiago Terminal, RC Miranda Boulevard, Calao East, Santiago City, Isabela

Date Taken: January 29, 2016

 

Notices:

* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.

** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.

*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.

**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.

 

With period correct window treatments!

gone

Company/Owner: JTB Travel and Tours, Inc.

Fleet/Bus Number: N/A

Classification: Air-conditioned Tourist Chartered Bus

Coachbuilder: Fuji Heavy Industries, Ltd. / Nissan Diesel Corporation Philippines

Body Model: Nissan Diesel Space Arrow Euro Tour (Jonckheere Deauville)

Engine Model: Nissan Diesel RG8

Chassis Model: Nissan Diesel JA530RAN

Transmission: Manual (6-speed forward, 1-speed reverse)

Suspension: Air Suspension

Seating Configuration: 2+1×2

Seating Capacity: 60 (49 + 11 jump-seats)

Route: Various (Tourist Chartered)

Municipalities/cities passing: N/A

Type of Operation: Tourist Operation Non-Public Utility Bus (Special Trip / Tourist Class)

Area of Operation: Any point of Luzon: Ilocos Region (Region I), Cagayan Valley (Region II), Central Luzon (Region III), CALABARZON (Region IV-A), MIMAROPA (Region IV-B), Bicol Region (Region V), Cordillera Administrative Region (CAR)

 

Shot Location: In-front of Barasoain Church, Malolos City, Bulacan

Date Taken: August 7, 2015

 

Notices:

* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.

** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.

*** The specifications mentioned above are subjected for verification and may be changed without prior notice.

**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.

Company/Owner: First North Luzon Transit, Inc.

Fleet/Bus Number: 28109

Classification: Air-conditioned Provincial Bus

Coachbuilder: (Zhengzhou) Yutong Bus Company, Ltd.

Body Model: Yutong ZK6100H

Engine Model: Yuchai Y6CA240-20 (A3515/A3522)

Chassis Model: Yutong ZK6100CRU (LZYTBTD6981)

Transmission: Manual (5-speed forward, 1-speed reverse)

Suspension: Leaf Spring Suspension

Seating Configuration: 3×2

Seating Capacity: 61

Route: Cubao/Farmers, Quezon City–Macabebe, Pampanga via NLEX-Balintawak–NLEX-Tabang / MacArthur Highway / Apalit–Macabebe–Masantol Road

Municipalities/cities passing: Tabang (Guiguinto)/Malolos City/Calumpit/Apalit

Type of Operation: Provincial Operation Public Utility Bus (Economy Class)

Area of Operation: Central Luzon (Region III)

 

Shot Location: MacArthur Highway (Manila North Road), Barangay Sumapang Matanda, Malolos City, Bulacan

Date Taken: August 8, 2015

 

Notices:

* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.

** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.

*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.

**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.

35mm

Company/Owner: No name specified (private vehicle)

Fleet/Bus Number: N/A

Classification: Air-conditioned/Heater-centralized Recreational Vehicle Private Bus

Coachbuilder: Prevost

Body Model: Prevost X3-45

Engine Model: Volvo D13

Chassis Model: Prevost X3-45 unibody chassis

Transmission: 6-speed Automatic Transmission

Suspension: Tri-axle Air Suspension

Configuration: Home-style interior

Route: N/A

 

Date Taken: May 3, 2017 (Mountain Daylight Time); May 4, 2017 (Manila Standard Time)

 

Notices:

* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.

** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.

*** The specifications mentioned above are subjected for verification and may be changed without prior notice.

Company/Owner: HDG Dalin Bus Line, Inc.

Fleet/Bus Number: 26295619

Classification: Air-conditioned Provincial Bus

Coachbuilder: (Xiamen) Golden Dragon Bus Company, Ltd.

Body Model: Forta/Golden Dragon XML6127J12 “Marcopolo”

Engine Model: Yuchai YC6G300-20 (G4704)

Chassis Model: Forta FZ6121A (LL3BHCDJ)

Transmission: Manual (5-speed forward, 1-speed reverse)

Suspension: Air Suspension

Seating Configuration: 2×2

Seating Capacity: 53

Route: Sampaloc, Manila City–Tuguegarao City, Cagayan via N1 (Maharlika Highway) / Emilio Vergara Highway

Municipalities/cities passing: Santa Rita (Guiguinto)/Plaridel/Pulilan/Baliuag/San Rafael/San Ildefonso/San Miguel/Gapan City/San Leonardo/Santa Rosa/Cabanatuan City/Talavera/Santo Domingo/Science City of Muñoz/San Jose City/Carranglan/Santa Fe/Aritao/Gabut (Dupax Del Sur)/Ineangan (Dupax Del Norte)/Bambang/Bayombong/Solano/Bagabag/Diadi/Cordon/Santiago City/San Isidro/Echague/Alicia/Cauayan City/Reina Mercedes/Naguilian/Gamu/Ilagan City/Tumauini/Cabagan/San Pablo/Peñablanca

Type of Operation: Provincial Operation Public Utility Bus (Regular Class)

Area of Operation: Cagayan Valley (Region II)

 

Shot Location: Doña Remedios Trinidad Highway (Maharlika Highway), Cut-cot, Pulilan, Bulacan

Date Taken: September 29, 2015

 

Notices:

* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.

** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.

*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.

**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.

It's high time for Philippine manufacturers to finally install air conditioning on the good ol' jeepney.

Company/Owner: Victory Liner, Inc.

Fleet/Bus Number: 135

Classification: Air-conditioned Provincial Bus

Coachbuilder: Hyundai Motor Company

Body Model: Hyundai Super Aero City

Engine Model: Hyundai D6AB (Q300)

Chassis Model: Hyundai Super Aero City (KMJTA18BPBC)

Transmission: Manual (5-speed forward, 1-speed reverse)

Suspension: Leaf Spring Suspension

Seating Configuration: 3×2

Seating Capacity: 56

Route: San Fernando City, Pampanga–Monumento, Caloocan City via NLEX-San Fernando–NLEX-San Simon / MacArthur Highway / NLEX-Tabang–NLEX-Balintawak

Municipalities/cities passing: San Simon/Apalit/Calumpit/Malolos City/Tabang (Guiguinto)

Type of Operation: Provincial Operation Public Utility Bus (Economy Class)

Area of Operation: Central Luzon (Region III)

 

Shot Location: Victory Liner Terminal, Barangay San Vicente, Apalit, Pampanga

Date Taken: August 1, 2015

 

Notices:

* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.

** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.

*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.

**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.

Condition 8/10

Mumtaz Jehan (February 14, 1933 – February 23, 1969), more popularly known as Madhubala (literally "honey belle"), was an Indian Bollywood actress who appeared in classic films of Hindi Cinema.[2][3] She was active between 1942 and 1960. Along with her contemporaries Nargis and Meena Kumari, she is regarded as one of the most influential personalities of Hindi movies.[4] She is also considered to be one of the most beautiful actresses to have worked in the industry.[5][6]

 

Madhubala received wide recognition for her performances in films like Mahal (1949), Amar (1954), Mr. & Mrs. '55 (1955), Chalti Ka Naam Gaadi (1958), Mughal-e-Azam (1960) and Barsaat Ki Raat (1960). Madhubala's performance in Mughal-e-Azam established her as an iconic actress of Hindi Cinema. Her last film, Jwala, although shot in the 1950s, was released in 1971. Madhubala died on 23 February 1969 after a prolonged illness.

  

Early life

 

Madhubala was born Mumtaz Jehan Dehlavi,[7] on 14 February 1933 in Delhi, British India.[1] She was a native Pashto-speaker.[8] Her father was Attaullah Khan, a Yusufzai[1] Pashtun from the Swabi District of Khyber Pakhtunkhwa, in British India (present-day Pakistan), and her mother was Ayesha Begum.[9] She belonged to an orthodox middle-class family[10] and was the fifth of eleven children. After her father lost his job at the Imperial Tobacco Company in Peshawar,[11] he relocated to Delhi followed by Mumbai. There, the family endured many hardships. Madhubala's three sisters and two brothers died at the age of five and six. The dock explosion and fire of April 14, 1944 wiped out their small home. The family survived only because they had gone to see a film at a local theater.[12] With his six remaining daughters to provide for, Khan, and the young Madhubala, began to pay frequent visits to Bombay film studios to look for work. At the age of 9, this was Madhubala's introduction to the movie industry, which would provide financial help to her family.[9]

Early career

 

Madhubala's first movie, Basant (1942), was a box-office success.[13] She acted as the daughter to a mother played by actress Mumtaz Shanti. As a child actress she went on to play in several movies. Actress Devika Rani was impressed by her performance and potential, and advised her to assume the screen name 'Madhubala',[10] literally meaning "honey belle". Her first lead role, at the age of 14, was with producer Kidar Sharma when he cast her opposite Raj Kapoor in Neel Kamal (1947).[13] This was the last film in which she was credited as Mumtaz before assuming her screen name 'Madhubala'. She achieved stardom and popularity in 1949 when she was cast as the lead in Bombay Talkies studio's Mahal – a role intended for well-known star Suraiya. Madhubala, with established actresses, screen-tested for the role before she was selected by the film's director Kamal Amrohi. The film was the third largest hit at the 1949 Indian box office. Following the success of Mahal, Madhubala appeared in the box office hits Dulari (1949), Beqasoor (1950), Tarana (1951) and Badal (1951).

Hollywood interest

 

In the early 1950s, as Madhubala became one of the most sought-after actresses in India, she attracted interest from Hollywood. She appeared in the American magazine Theatre Arts where, in its August 1952 issue, she was featured in an article with a full page photograph under the title: "The Biggest Star in the World - and she's not in Beverly Hills". The article described Madhubala's immense popularity in India, and explored her wide appeal and large fan base. It also speculated on her potential international success.[12] Academy Award winner American director Frank Capra, while visiting Bombay for International Film Festival of India, was keen to give her a break in Hollywood, but her father Ataullah Khan declined.[14]

Stardom

 

Madhubala's co-stars Ashok Kumar, Raj Kapoor, Rehman, Pradeep Kumar, Shammi Kapoor, Dilip Kumar, Sunil Dutt and Dev Anand were the most popular of the period. She also appeared with Kamini Kaushal, Suraiya, Geeta Bali, Nalini Jaywant, Shyama and Nimmi, notable leading ladies. The directors she worked with, Mehboob Khan (Amar), Guru Dutt (Mr. & Mrs. '55), Kamal Amrohi (Mahal) and K. Asif (Mughal-e-Azam), were amongst the most prolific and respected. Madhubala also became a producer with the film Naata (1955), in which she also acted.[15]

 

During the 1950s, Madhubala took starring roles in almost every genre of film being made at the time. Her 1950 film Hanste Aansoo was the first ever Hindi film to get an "A" – adults only – rating from the Central Board of Film Certification.[16] She was the archetypal fair lady in the swashbuckler Badal (1951), and following this, an uninhibited village beauty in Tarana (1951). She played the traditional ideal of Indian womanhood in Sangdil (1952), and produced a comic performance as the spoilt heiress, Anita, in Guru Dutt's satire Mr. & Mrs. '55 (1955). In 1956, she acted in costume dramas such as Shirin-Farhad and Raj-Hath, and played a double role in the social drama Kal Hamara Hai (1959). In the mid-1950s, her films including the major ones like Mehboob Khan's Amar (1954) did not do well commercially.[17] However, she bounced back between 1958 and 1960 when she starred in a series of hit films. These include Howrah Bridge, opposite Ashok Kumar where she played the role of an Anglo-Indian Cabaret singer involved in Calcutta's Chinatown underworld. In the song Aaiye Meherebaan from this film, she lip-synced a torch song dubbed by Asha Bhosle which has remained popular to this day. Among other successful films, she played opposite Bharat Bhushan in Phagun; Dev Anand in Kala Pani; Kishore Kumar in Chalti Ka Naam Gaadi; and Bharat Bushan again in Barsaat Ki Raat (1960). Then in 1960, she appeared in the magnum opus Mughal-e-Azam.

 

Madhubala acted in as many as seventy films from 1947 to 1964, and only fifteen of which were box office successes.[17] Dilip Kumar regrets that "(h)ad she lived, and had she selected her films with more care, she would have been far superior to her contemporaries ..."[18] Kumar also points out that "actresses those days faced a lot of difficulties and constraints in their career. Unable to assert themselves too much, they fell back on their families who became their caretakers and defined everything for them."[19]

Mughal-e-Azam and later work

 

It was the film Mughal-e-Azam that marked what many consider to be Madhubala's greatest and definitive characterization, as the doomed courtesan, Anarkali. Although the film took nine years to complete, it was not until 1953 when Madhubala was finally chosen to play the role. Bunny Reuben in his Book Dilip Kumar: Star Legend of Indian Cinema claimed that Dilip Kumar's role was instrumental behind this selection.[20] Mughal-e-Azam gave Madhubala the opportunity of fulfilling herself totally as an actress, for it was a role that all actresses dream of playing as Nimmi acknowledges that "as an actress, one gets a lot of roles, there is no shortage of them, but there isn’t always good scope for acting. With Mughal-e-Azam, Madhubala showed the world just what she could do."[21]

Madhubala in Mughal-e-Azam

 

However, by the late 1950s, her health was deteriorating fast, and Director K. Asif, probably unaware of the extent of Madhubala's illness, required long shooting schedules that made physical demands on her, whether it was posing as a veiled statue in suffocating make-up for hours under the studio lights or being shackled with heavy chains. It was also a time when Madhubala's relationship with Dilip Kumar was fading out, and "the lives of Madhubala and her screen character are consistently seen as overlapping, it is because of the overwhelming sense of loss and tragedy and the unrelenting diktat of destiny that clung to both and which neither could escape".[22]

 

Mughal-e-Azam was released on 5 August 1960, and became the biggest grossing film at that time, a record that went unbroken for 15 years until the release of the film Sholay in 1975. It still ranks second in the list of all time box-office hits of Indian cinema. Madhubhala was nominated for a Filmfare Award for her performance in Mughal-e-Azam.

 

In 1960 Madhubala was at the peak of her career and popularity with the release of Mughal-e-Azam and Barsaat Ki Raat. She did have intermittent releases in the early 1960s. Some of these, like Jhumroo (1961), Half Ticket (1962) and Sharabi (1964), performed above average at the box-office. However, most of her other films released during this time were marred by her absence and subsequent lack of completion due to her prolonged illness. These films suffer from compromised editing, and in some cases the use of "doubles" in an attempt to patch-in scenes that Madhubala was unable to shoot.[23] Her last released film Jwala, although filmed in the late 1950s, was not issued until 1971.

Personal life and controversies

 

In their 1962 book Self-Portrait, Harish Booch and Karing Doyle commented that "(u)nlike other stars, Madhubala prefers a veiled secrecy around her and is seldom seen in social gatherings or public functions" (p. 76), and went on to say that "(c)ontrary to general belief, Madhubala is rather simple and unassuming" (p. 78).[10][24] This is echoed in Madhubala's sister's interview with the Filmfare: "(Madhubala) became a craze because she was never seen in public. She wasn’t allowed to attend any function, any premiere. She had no friends. But she never resisted, she was obedient. Being protective, my father earned the reputation of being domineering".[25] Dilip Kumar added, "She was extremely popular ... and I think the only star for whom people thronged outside the gates. Very often when shooting was over, there’d be a vast crowd standing at the gates just to have a look at Madhu ... It wasn’t so for anyone else. That was her personal effect on fans. Her personality was vivacious."[26] But, "she was aware of her beauty," reminisces B. K. Karanjia, former Filmfare editor and a close friend of both Madhubala and her father, "and because there were so many in love with her, she used to play one against the other. But it was out of innocence rather than shrewd calculation."[27] Dev Anand recalled in a similar way: "(s)he liked to flirt innocently and was great fun."[28][29] However, with Dilip Kumar she had a long association.

 

Dilip Kumar and Madhubala first met on the set of Jwar Bhata (1944), and worked together again on the film Har Singaar (1949), which was shelved. Their relationship began two years later during the filming of Tarana (1951). They became a romantic pair appearing in a total of four films together. Actor Shammi Kapoor recalled that "Dilip Kumar would drive down from Bombay to meet Madhubala ... she was committed to Dilip ... he even flew to Bombay to spend Eid with her, taking time off from his shooting stint ..."[30] "They even got engaged", said Madhubala's sister.[25] But, Madhubala's father Ataullah Khan did not give them permission to marry.[31] Dilip Kumar said, "She was a very, very obedient daughter",[32] and who, in spite of the success, fame and wealth, submitted to the domination of her father and more often than not paid for his mistakes.[33] "This inability to leave her family was her greatest drawback", believed Shammi Kapoor, "for it had to be done at some time."[34] The Naya Daur (1957 film) court case happened in 1956 when Dilip Kumar testified against Madhubala and her father in favor of the director B.R. Chopra in open court. This struck a fatal blow to the Dilip-Madhubala relationship as it ended any chance of reconciliation between Dilip Kumar and Madhubala'a father.[35] Reflecting on this, while Dilip Kumar said he was "trapped",[36] Shammi Kapoor felt "this was something which went beyond him (Dilip) and he couldn’t control the whole situation ..." [37] However, Madhubala's sister Madhur Bhushan claimed that "(Madhubala) said she would marry him (Dilip), provided he apologised to her father. He refused, so Madhubala left him. That one 'sorry' could have changed her life."[38]

 

Madhubala married Kishore Kumar in 1960, and according to Leena Chandavarkar (Kishore's fourth wife): "When she realized Dilip was not going to marry her, on the rebound and just to prove to him that she could get whomsoever she wanted, she went and married a man she did not even know properly."[39] B. K. Karanjia assumed that "Madhubala may have felt that perhaps this was her best chance" because by this time she became seriously ill, and was about to stop working completely; however, he added that "it was a most unlikely union, and not a happy one either." [40] Madhubala’s illness was known to Kishore, but like all the others, he did not realize its gravity; Ataullah Khan did not approve of his son-in-law at all, but he had lost the courage to disapprove.[41] Ashok Kumar reminisced in a Filmfare interview: "She suffered a lot and her illness made her very bad-tempered. She often fought with Kishore, and would take off to her father's house where she spent most of her time."[42] Madhubala's sister echoes this view albeit in a slightly different tone: "After marriage they flew to London where the doctor told her she had only two years to live. After that Kishore left her at our house saying, ‘I can’t look after her. I’m on outdoors often’. But she wanted to be with him. He’d visit her once in two months though. Maybe he wanted to detach himself from her so that the final separation wouldn’t hurt. But he never abused her as was reported. He bore her medical expenses. They remained married for nine years."[25]

 

However, Madhubala's love-life continued to be the subject of media speculation. Mohan Deep wrote an unofficial biography of Madhubala titled Mystery and Mystique of Madhubala, published in 1996, where he claims that Kishore Kumar regularly whipped Madhubala, who would show her lashes to Shakti Samanta.[43] Mohan Deep also questions whether Madhubala was really ill or whether her ailing was a fiction.[44] Shammi Kapoor, a long-term colleague of Madhubala, refuted Mohan Deep's claims, which he described as being "in bad taste". Paidi Jairaj, and Shakti Samanta, both of whom worked with Madhubala, rejected Deep's biography emphasizing the glaring difference between fact and fiction, and film journalist M.S.M. Desai, who had worked as a journalist on Madhubala's sets, questioned Deep's method of research saying, "Mohan Deep was not around at the time of Madhubala, so how is he capable of writing about her without resorting to hearsay?"[45]

Final years and death

Prithviraj Kapoor visiting the grave of Madhubala in 1969

 

Madhubala had ventricular septal defect (hole in her heart) which was detected while she was shooting for Bahut Din Huwe in Madras in 1954.[46] By 1960, her condition aggravated, and her sister explains that "due to her ailment, her body would produce extra blood. So it would spill out from the nose and mouth. The doctor would come home and extract bottles of blood. She also suffered from pulmonary pressure of the lungs. She coughed all the time. Every four to five hours she had to be given oxygen or else would get breathless. She was confined to bed for nine years and was reduced to just bones and skin".[25] In 1966, with a slight improvement in her health, she made a valiant attempt to complete her work in Chalak opposite Raj Kapoor, which needed only a short spell of shooting, but she could not even survive that strain.[47] When acting was no longer an option Madhubala turned her attention to film direction. In 1969 she was set to make her directorial debut with the film Farz aur Ishq. However the film was never made as during pre-production, she died on February 23, 1969, shortly after her 36th birthday. She was buried with her personal diary at the Santa Cruz Muslim cemetery by her family and husband Kishore Kumar.[48] Her tomb was built with marble and inscriptions included aayats from the Quran and verse dedications. Controversially, her tomb was demolished in 2010 to make space for new graves.[49]

 

Madhubala's strong presence in the public memory has been evidenced by all recent polls about top actresses or beauties of the Indian cinema.[50][51][52] Every year, on her birthday, numerous articles are printed and television programmes aired to commemorate her, to the present day. Her posters are still in demand and sold alongside contemporary actresses, and modern magazines continue to publish stories on her personal life and career, often promoting her name heavily on the covers to attract sales.[53] Many believe, however, Madhubala remains one of the most underrated actresses as "her beauty attracted more attention than her talent."[54]

 

In 2004, a digitally-colorized version of the original Mughal-e-Azam was released, 35 years after her death. In 2012, her 1962 release Half Ticket was also remastered, digitally coloured and re-released.

 

On March 18, 2008, a commemorative postage stamp featuring Madhubala was issued.[55] The stamp was produced by India Post in a limited edition presentation pack. It was launched by veteran actors Nimmi and Manoj Kumar in a ceremony attended by colleagues, friends and surviving members of Madhubala's family. The only other Indian film actress that was honoured in this manner was Nargis Dutt, at that point of time.[56]

Filmography

Year Film Director Notes

1942 Basant Amiya Chakravarty as Manju; credited as Baby Mumtaz

1944 Mumtaz Mahal Kidar Sharma as a child artiste

1945 Dhanna Bhagat Kidar Sharma as a child artiste

1946 Pujari Aspi as a child artiste

1946 Phoolwari Chaturbhuj Doshi as a child artiste

1946 Rajputani Aspi as a child artiste

1947 Neel Kamal (1947 film) Kidar Sharma First film as a heroine

1947 Chittar Vijay Mohan Sinha

1947 Mere Bhagwan Mohan Sinha

1947 Khubsoorat Duniya Mohan Sinha

1947 Dil-Ki-Rani Mohan Sinha as Raj Kumari Singh

1948 Parai Aag Najm Naqvi

1948 Lal Dupatta K.B.Lall

1948 Desh Sewa N.Vakil

1948 Amar Prem N.M.Kelkar

1949 Sipahiya Aspi

1949 Singaar J.K.Nanda

1949 Paras Anant Thakur as Priya

1949 Neki Aur Badi Kidar Sharma

1949 Mahal Kamal Amrohi as Kamini

1949 Imtihaan Mohan Sinha

1949 Dulari A. R. Kardar as Shobha/Dulari

1949 Daulat Sohrab Modi

1949 Aparadhi Y.Pethkar as Sheela Rani

1950 Pardes M.Sadiq as Chanda

1950 Nishana Wajahat Mirza as Greta

1950 Nirala Devendra Mukherjee as Poonam

1950 Madhubala Prahlad Dutt

1950 Hanste Aansoo K.B.Lall

1950 Beqasoor K. Amarnath as Usha

1951 Tarana Ram Daryani as Tarana

1951 Saiyan M. Sadiq as Saiyan

1951 Nazneen N.K.Ziree

1951 Nadaan Hira Singh

1951 Khazana M.Sadiq

1951 Badal Amiya Chakravarty as Ratna

1951 Aaram D. D. Kashyap as Leela

1952 Saqi H. S. Rawail as Rukhsana

1952 Deshabakthan Amiya Chakrabarty

1952 Sangdil R. C. Talwar

1953 Rail Ka Dibba P. N. Arora as Chanda

1953 Armaan Fali Mistry

1954 Bahut Din Huye S.S.Vasan as Chandrakanta

1954 Amar Mehboob Khan as Anju

1955 Teerandaz H.S.Rawail

1955 Naqab Lekhraj Bhakri

1955 Naata D. N. Madhok as Tara

1955 Mr. & Mrs. '55 Guru Dutt as Anita Verma

1956 Shirin Farhad Aspi Irani as Shirin

1956 Raj Hath Sohrab Modi as Raja Beti/Rajkumari

1956 Dhake Ki Malmal J.K.Nanda

1957 Yahudi Ki Ladki S.D. Narang

1957 Gateway of India Om Prakash as Anju

1957 Ek Saal Devendra Goel as Usha Sinha

1958 Police Kali Das

1958 Phagun Bibhuti Mitra as Banani

1958 Kala Pani Raj Khosla as Asha

1958 Howrah Bridge Shakti Samanta as Edna

1958 Chalti Ka Naam Gaadi Satyen Bose as Renu

1958 Baghi Sipahi Bhagwandas Varma

1959 Kal Hamara Hai S.K.Prabhakar as Madhu/Bela

1959 Insaan Jaag Utha Shakti Samanta as Gauri

1959 Do Ustad (1959) Tara Harish as Madhu Sharma

1960 Mehlon Ke Khwab Hyder as Asha

1960 Jaali Note Shakti Samanta as Renu/Beena

1960 Barsaat Ki Raat P.L.Santoshi as Shabnam

1960 Mughal-e-Azam K.Asif as Anarkali; Nominated—Filmfare Award for Best Actress

1961 Passport Pramod Chakravorty as Rita Bhagwandas

1961 Jhumroo Shankar Mukherji as Anjana

1961 Boy Friend Naresh Saigal as Sangeeta

1962 Half Ticket Kali Das as Rajnidevi/Asha

1964 Sharabi Raj Rishi as Kamala