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Auf ein ganz besonderes Experiment lässt sich Sängerin Romy Haag jetzt in ihrer neuen Show ein: Musikalische "Blind Dates" stehen im Fokus eines Projekts, das spannende Überraschungen und echte Entdeckungen bereithält. Denn auf der Bühne wird es zu Begegnungen mit Künstlern kommen, mit denen Romy noch nie zuvor gearbeitet hat, darunter etablierte Sänger sowie Musiker aus dem Underground, neue spannende Namen, die dem Berliner Publikum vielleicht noch nicht bekannt sind und auch Romys ganz eigene Geheimtipps.
Gekonnt spannt Romy Haag dabei den Bogen vom Vertrauten zur Magie des Neuen. Dabei bleibt sie sich stets treu und wird erneut ihrem hohen Anspruch gerecht, einen rockigen, avantgardistischen und unterhaltsamen Abend zu präsentieren.
Romy Haags Konzerte gleichen stets einem bezaubernden Rendezvous. Sie sind ergreifende Begegnungen mit Menschen und Themen, die in den letzten Jahrzehnten das facettenreiche Leben der Künstlerin geprägt haben. Romy Haag ist emotional, persönlich berührend und auch politisch in ihren Songs. Ihre liebgewonnenen und neuen "Lieblingslieder" präsentiert sie jedoch stets ohne reumütigen Blick zurück. Stattdessen sind die Songs geprägt vom Hier und Jetzt.
Ergänzt mit interessanten Anekdoten aus den verschiedensten Stationen ihres aufregenden Lebens, versprechen die „Blind Dates“ zu einer fesselnden Show zu werden.
Berliner Kabarett-Theater 'Die Wühlmäuse' - 17. Februar 2017
de.wikipedia.org/wiki/Romy_Haag
____________________________________________________
ROMY HAAG Blind Dates
Singer Romy Haag is now embarking on a very special experiment in her new show: Musical "blind dates" are the focus of a project that holds exciting surprises and real discoveries in store. Because on stage, there will be encounters with artists Romy has never worked with before, including established singers and musicians from the underground, exciting new names that may not yet be known to Berlin audiences and Romy's very own insider tips.
Romy Haag skillfully spans the arc from the familiar to the magic of the new. In doing so, she always remains true to herself and once again lives up to her high standards of presenting a rocking, avant-garde and entertaining evening.
Romy Haag's concerts always resemble an enchanting rendezvous. They are poignant encounters with people and themes that have shaped the artist's multifaceted life over the past decades. Romy Haag is emotional, personally touching and also political in her songs. However, she always presents her cherished and new "favorite songs" without a rueful look back. Instead, the songs are characterized by the here and now.
Supplemented with interesting anecdotes from the various stages of her exciting life, the "Blind Dates" promise to be a captivating show.
Berlin cabaret theater 'Die Wühlmäuse' - February 17, 2017
Volunteer Name: Lycourgas Manlpoulos, Project Location: Costa Rica
Program Dates: March 13 – March 24, 2014, Volunteered at: Sea Turtle (Pacific)
How was the local ABV Coordinator and the support provided in-country?
Nicky was very friendly. She spoke Spanish very well, and was always prepared. She has much knowledge about the sea turtles.
What was the most surprising thing you experience?
CR reminded me of Greece. I was able to adjust rather quickly to the scenery, food and water. The wildlife was also very surprising. I have never seen a cow with a hump on its back…
What was the most difficult to experience?
There is a lot to get “used to” when you arrive. There is a major shock due to lack of technology and electricity. You must be very social and open since you will be around others all the time. My biggest problem was adjusting to being very dirty every day!
Any tips for future volunteers… (Clothing, travel, personal items, donations)
Do not expect to be clean at any given moment. Bring bug spray and bedding, snacks and refillable water bottle, books and deck of cards and obviously deodorant.
Other things volunteers should know
A) Let the cook know about any special diets you have
b) Be aware water may be limited
c) Sand gets very hot!
Personal Paragraph (ABV Testimonial)
This was my very first trip abroad without my family. I was very excited to come to CR to help out the sea turtles and see the culture. This ABV program has definitely broadened my view of volunteering and the culture.
How would you describe your accommodations, meals, security?
I was very happy the cook provided my vegan meals. I like how we were able to travel to Samara to relax.
What was your favorite memory of this trip?
Meeting and chatting up new people and also my own group. I realized all of us had many things in common. Everyone seemed to have bonded at a high level of friendship.
How as the ABV support prior to traveling?
There was plenty of information provided to us so we were able to know what the project would be like.
I felt this information helped us adjust to the project easily and with less stress.
Are you willing to speak to other potential ABV volunteers?
Yes!
www.abroaderview.org/volunteers/costa-rica
#abroaderview #costarica #seaturtles #conservation
I've bought some dates at the supermarket. I don't like this fruit, but it's a very cheap way to get phoenix dactylifera seeds.
Crown Theatre
Theatre ID1830
Built?/?Converted1899
Dates of use
1899 - 1932: Theatre
1932 - 1963: Cinema
1963: Bingo
Current stateExtant
Current useDisused (currently at risk)
AddressChurch Street/Mather Road, Eccles, Greater Manchester, M30 0LZ, England
Details
The Crown opened in 1899 as the Lyceum Theatre. The intention was to provide a luxury theatre for Shakespeare productions and drama as well as revue.
It is a landmark building in the town of Eccles in a vaguely Elizabethan Style with pilasters and mullioned windows. The facade is constructed of moulded red brick of five storeys with terracotta dressings to three high arched windows at first floor. It is richly decorated, and has an asymmetrically placed short corner tower. This once had a pyramidal roof and the parapet was topped with square pinnacles. The cast iron copy still survives, now encased.
The auditorium was designed with three balconies, supported by four columns.
The ornamentation of the proscenium comprised an allegorical representation of Shakespeare's 'Seven Ages of Man'.
The act drop was a facsimile of Beverley's noted work for the opening of the Theatre Royal (Manchester)
in 1845 - a Grecian subject painted by Mr Keith.
Becoming a cinema in 1932,
it was later adapted for Cinemascope, ending stage use.
Converted for bingo in 1963, by the late 1980s it was reported to be falling into disrepair internally.
The exterior is largely intact, apart from the stage house which has been partly demolished.
Planning permission was given in 2005 - and again in 2008 - for partial demolition (retaining the facade)
and development of apartments behind. These works have not been started,
and the building remains empty and increasingly derelict.
PRIMATICS
Dates: 30.6 – 4.7
Marc Delhaye, trombone & vocals
Gilles Berthenet, trumpet
Julien Duchet, sax
Fabien Saussaye, piano
Stéphane Barral, bass
Simon Boyer, drums
From: F
Style: Swing & Jive (Tribute to Louis Prima)
Riecco i Primatics, nel nome di Louis Prima
Nomen est omen: Primatics sono un gruppo francese che ha debuttato nel novembre 2013 e che si è affacciato alla ribalta portando in scena la musica del grande Louis Prima. Riunisce alcuni fra i migliori musicisti swing dell’esagono, più volte ammirati ad Ascona. Rispetto a The Primatics c’è un nuovo sassofonista, Julien Duchet, al posto di Drew Davies.
The return of Prima Volta, in the name of Louis Prima
Nomen est omen: Prima Volta are the continuation of The Primatics, a new French group who debuted in November 2013 bringing on stage the music of the great Louis Prima. Amongst these musicians, you will find some of the best French swing artists – many of them have been admired in Ascona. Prima Volta include a new saxophonist, Julien Duchet, in place of Drew Davies who used to perform with The Primatics.
Da sind sie wieder, die Prima Volta,im Namen von Louis Prima
Nomen est omen: Prima Volta, Nachfolgeband der Primatics. ist eine Formation aus Frankreich, die im November 2013 ihr Debut gab und die Bühne mit der Musik des grossen Louis Prima erobert hat. In ihren Reihen finden sich einige der besten Swingmusiker der Grande Nation, die schon mehrmals in Ascona bewundert werden konnten. Im Vergleich zu The Primatics, spielt heute ein neuer Saxofonist, Julien Duchet anstelle von Drew Davies.
Way of Human Rights
The history of the "Way of Human Rights" dates back to 1988, when a twelve-member jury in connection with the expansion of the Germanic National Museum had to decide on the artistic design of the Kartäuser alley. Among the four received competition proposals, the concept of Dani Karavan proved to be the most convincing one whose "Way of Human Rights" with its 27 white columns of eight meters high, two base plates, a pillar oak (Säuleneiche, Pyramideneiche - Quercus robur Fastigiata) and an archway should create a welcoming connection between Grain market and city walls. After several years of planning and construction, Karavan on 24 October 1993 was able to hand over his work in a moving ceremony to the public.
The artist Dani Karavan in the Way of Human Rights
On October 24, 2013, 20 years to the day that Karavan his work had made available to the public, was in a poignant ceremony looked to 20 years of "Way of Human Rights" and the unique development from artwork to model.
With a wink commented the 83-old-artist: "the power of art begins to convince me".
In addition to the solemn ceremony in the Germanic National Museum, there was a series of events as well as an educational accompanying program. The offers ranged from lectures and guided tours over children's theater to hands-on activities.
The message
Its powers of persuasion the sculpture not only obtains from the artistic impression, but above all from its message. Each of the elements in the Way of Human Rights bears in a short form one of the human rights articles in German and another language. The "Way of Human Rights" is both a denouncement of the crimes of the National Socialists and a petrified reminder to people that human rights even today are massively violated in many countries of the world.
The meaning of the artwork for the City of Nuremberg
What a work of art in the best case can cause, the colonnade and its creator have accomplished: the "Way of Human Rights" set a new intellectual, political and social accent in Nuremberg, the former city of Nazi racial laws and the Nazi Party Rallies, but also the scene of the international Military Tribunal as the nucleus of an international criminal jurisdiction.
The walk-in installation beyond its high aesthetic quality has a large symbolic power, which provided an impetus for numerous human rights activities of Nuremberg. So bookmarked the opening of the "Way of Human Rights" also the birth of the Nuremberg International Human Rights Award: In his speech promised the then Lord Mayor Dr. Peter Schönlein, the city of Nuremberg Dani Karavan's installation always will understand as a constant invitation to make an active contribution to the global enforcement of human rights, and he announced the sponsoring of the price. As a jury member of the International Human Rights Award and as a frequent guest in Nuremberg, Dani Karavan since then accompanies the human rights work in the city.
The Way of Human Rights in panorama
www.nuernberg.de/internet/menschenrechte/strasse_der_mens...
The canopy dates to Boston & Albany (New York Central) days. The shelter on the right was an original fixture of the line from its 1959 opening. 4 August 2009. © 2009 Peter Ehrlich
The dates of these images are not known. A description of the processes and purposes these images depict have yet to be made, they provide a good idea of the world of brewing at a particular time.
Baby Spinach Salad with Dates & Almonds recipe here:
couscous-consciousness.blogspot.co.nz/2013/04/baby-spinac...
Return to the Western world! We spend one month in Croatia, and sample the joys of Central Europe by the Adriatic Sea.
Zagreb is thoroughly modern and beautiful, with a livelier local crowd, fresh markets, and more hidden gems than Prague or Budapest.
The Plitvice Lakes are one of the most awesome national parks we have visited so far.
Dubrovnik is like stepping back into the 1400s, all rocky hillside, stone streets, towering city walls, and Mediterranean blue sea.
Split is Croatia's second city, perched on the sea and built around the Roman ruins of Diocletian's Palace. We would love to come back here.
Read more about our travels at www.circumnavacation.com!
Suspended Animation Classic #714 First published September 1, 2002 (#35) (Dates are approximate)
Atmospherics By Mark Allen
Atmospherics, published by Avatar Press, Inc., 48 pages, $5.95.
Alien abductions and cattle mutilations. You'd have thought, by now, that most of us would have heard all we wanted about such things. I mean, after all, the X-Files program is over and done with. So, what could possibly possess me to even review a comic with such fare, much less speak well of it? Well, a good story, along with fantastic artwork would be an excellent start. The comic? Atmospherics, a graphic novel by writer Warren Ellis, and artist Ken Meyer, Jr.
Now, this is not your typical alien-abduction story. Thanks to Ellis, it actually manages to pose a decent mystery, keeping the reader guessing right to the end. The main character, Bridget Rhinehart, goes from seemingly frazzled sole survivor of a slaughtered township, to possible drug-abuser, to possible murderer. But which one is accurate?
The entire story takes place in an interrogation room, where Bridget is grilled by a member of the Federal Emergency Management Agency. This shadowy figure questions, cajoles and intimidates her, as he seeks to arrive at the "truth" about what happened in the small town. The result makes for a real page-turner with a definite chill factor. The most creative part of the story, however, is the truth about the aliens.
What, you think I'm going to TELL you? You'll have to find out for yourself.
Meyer's artwork has a very realistic quality to it. And, though his work doesn't get showcased in the sense of vast setting changes, his talent for character expressions lends as much to the entertainment value of this story as Ellis' writing.
He is also one of those very accomplished black-and-white artists I enjoy so much. Those who refuse to read comic material due to lack of color are punishing themselves when they pass up work like this.
Atmospherics is recommended for adults and older teens, due to some language and intense situations. Find it at comic shops, comic conventions, or online catalogs.
Dates: February 10-12, 2014
Location: Alerus Center, Grand Forks, ND
Photographer: Mike Hess Photography
Butterscotch, vocals, guitar & piano
Performing dates: June 21-30
Invited as Special Guest
Style: Jazz, R&B, Hip-Hop
From: USA
Antoinette Kai'Maiya Clinton in arte Butterscotch è una giovane cantante, musicista ed entertainer americana. È un vero e proprio asso del beatboxing, l’arte del riprodurre i suoni di strumenti musicali e ritmi usando esclusivamente la propria voce. Nelle sue composizioni e performance incorpora il suo background musicale di multistrumentista (suona abilmente piano, chitarra e basso) in cui sono chiare le influenze di vari generi come il jazz, la musica classica, l’hip-hop e l’R&B. Vincitrice della prima World Hip Hop Beatbox Women's Championship nel 2005 e West Coast Champion nel 2007 (competizione in cui ha sbaragliato la concorrenza degli altri partecipanti, 18 maschi) e finalista della trasmissione America’s Got Talent è diventata una performer di fama internazionale. Ai trofei, alle partecipazioni a show televisivi e a workshop in cui Butterscotch insegna ai giovani tutte le sue “chicche” hanno seguito esibizioni accanto a nomi di caratura mondiale: Stanley Clarke, Marcus Miller, Stevie Wonder, Earth, Wind & Fire e George Benson. Non solo, nello scorso dicembre Butterscotch ha lanciato il suo album Perfect Harmony.
Per la prima volta a JazzAscona Butterscotch si esibirà per dieci giorni alternando performance al piano e chitarra a jam sessions e, ovviamente, sessioni di beatboxing.
Antoinette Kai'Maiya Clinton, known by her stage name Butterscotch, is a young American singer, musician, and entertainer. She is also a master at beatboxing, the art of producing drum beats, rhythms and musical sounds by mainly using one's voice. She incorporates her musical background as instrumentalist (she can skillfully play the piano, guitar, and bass) in her compositions and performances that show clear influences of jazz, classical music, hip hop and R&B. Winner of the first World Hip Hop Beatbox Women's Championship in 2005, West Coast Champion in 2007 (where she beat 18 male opponents) and finalist at America’s Got Talent, she has become an internationally known performer. Beside her trophies, TV show appearances and workshops for young musicians, Butterscotch has also performed alongside stars such as Stanley Clarke, Marcus Miller, Stevie Wonder, Earth, Wind & Fire, and George Benson. Last December she also released her album "Perfect Harmony".For the first time at JazzAscona, Butterscotch will be on stage throughout ten days alternating piano and guitar performances, jam sessions and, of course, beatboxing sessions.
Dates: February 10-12, 2014
Location: Alerus Center, Grand Forks, ND
Photographer: Mike Hess Photography
Hatebreed announces a block of new Spring U.S. headline dates anchored around their dates with headliner Slipknot on the Prepare for Hell Tour and Welcome To Rockville Festival (Jacksonville, FL), Carolina Rebellion (Charlotte, NC) and Rock On The Range (Columbus, OH). Hatebreed’s first hea...
www.hellhoundmusic.com/hatebreed-announces-spring-tour-da...
Crown Theatre
Theatre ID1830
Built?/?Converted1899
Dates of use
1899 - 1932: Theatre
1932 - 1963: Cinema
1963: Bingo
Current stateExtant
Current useDisused (currently at risk)
AddressChurch Street/Mather Road, Eccles, Greater Manchester, M30 0LZ, England
Details
The Crown opened in 1899 as the Lyceum Theatre. The intention was to provide a luxury theatre for Shakespeare productions and drama as well as revue.
It is a landmark building in the town of Eccles in a vaguely Elizabethan Style with pilasters and mullioned windows. The facade is constructed of moulded red brick of five storeys with terracotta dressings to three high arched windows at first floor. It is richly decorated, and has an asymmetrically placed short corner tower. This once had a pyramidal roof and the parapet was topped with square pinnacles. The cast iron copy still survives, now encased.
The auditorium was designed with three balconies, supported by four columns.
The ornamentation of the proscenium comprised an allegorical representation of Shakespeare's 'Seven Ages of Man'.
The act drop was a facsimile of Beverley's noted work for the opening of the Theatre Royal (Manchester)
in 1845 - a Grecian subject painted by Mr Keith.
Becoming a cinema in 1932,
it was later adapted for Cinemascope, ending stage use.
Converted for bingo in 1963, by the late 1980s it was reported to be falling into disrepair internally.
The exterior is largely intact, apart from the stage house which has been partly demolished.
Planning permission was given in 2005 - and again in 2008 - for partial demolition (retaining the facade)
and development of apartments behind. These works have not been started,
and the building remains empty and increasingly derelict.
Corringham, St Laurence Church, Lincolnshire
Grade I listed.
St Laurence's church, Corringham, dates from the 11th C.onwards with 1882 restoration by Bodley and Garner. The lych gate was built in the 1880's and the South porch was rebuilt by Bodley.
The tower was built in the 10th C. to a pre-existing wooden church (burnt down by the Danes) and is built in Jurassic limestone quarried from the Lincoln Edge. The tower arch with seven roll mouldings stands on a plinth of four chamfered set-offs and is 17 ft 6" high. The south and west faces of the tower contain stones showing charred red brown colour, evidence of the torching by the Danes.
In 1849 the nave roof was altered from being a pitched roof to a "flat" roof, and the Anglo-Saxon doorway above the tower arch served no purpose so it was blocked up. The font is situated under the tower arch and was made by George Green of Gainsborough in the 1849 restoration.
The north aisle dates from 11C and was enlarged in 14C. The Lady Chapel dates from 13C and is dedicated to the Blessed Virgin Mary. The ceiling, by G.F. Bodley (1884), contains the "M" motif - representing the Magnificat. The Chancel has a rood screen made of oak, the base is the original rood screen which was taken down in 1565 and sold to Thomas Broxholme for 16 shillings. It was later discovered at the Vicarage and re-erected by Bodley in 1884.
The choir contains choir stalls with misericords. There is an Easter Sepulchre between the north door and the east wall and this has been re-used for the recessed tomb of William de Gare 1277-1290, Archdeacon of Lincoln.
The Organ was installed in 1884 by Messrs. Wordsworth and Maskell of Leeds and paid for by public subscription. It has a tracker action. In the 1950's it was electified and in 1974 it was cleaned and restored by Cousans of Lincoln when a balance swell pedal and two extra stops were added. The organ case was decorated by Bodley with Latin verses from the Psalms.
The Lancet window in the West tower wall is a 13th C. window with the stained glass being inserted in 1878 by C. Kempe (1838-1907) showing John the Baptist, the prophet Isaiah, and King David.
The two north aisle windows are Perpendicular (14C) and have clear quarries with emblems, in colour, representing the Passion of Christ - nails, robe, dice, lance with sponge on reed and the scourges.
Info from Church Guide.
Dates: ca. 1790
Maker: Unidentified
Place: China
Donor: Special Acquisitions Fund
Photographer Credit: David Bohl
Pacchai Pattini Vratham
Dates: 12th March 2023 - 9th April 2023
Registration link:
THE PACCHAI PATTINI VRATHAM (DIET REGIMEN) IS SPECIALLY DESIGNED TO:
1) SPIRITUALLY HEAL YOUR PHYSICAL AND PSYCHOLOGICAL AILMENTS
2) help CLEAR OUT ALL TOXINS AND BLOCKAGES from YOUR SYSTEM
3) HELP strengthen YOUR IMMUNE SYSTEM to help EFFECTIVELY FIGHT OFF DISEASES
4) help RELIEVE ALL YOUR STRESS, ANXIETY, AND MENTAL TENSION
5) RECEIVE THE BLESSINGS OF THE GODDESS TO STAY PROTECTED OF ALL DISEASES
WHAT IS PACCHAI PATTINI VRATHAM?
Every year, the Maasi festival is celebrated on the last Sunday of the Tamil month Maasi and ends on the last Sunday of Tamil month Panguni. Devi Mariamman, manifestation of Parashakti (Cosmic feminine consciousness) observes a 28-day fast (a special dietary regimen) during this time called the Pacchai Pattini Vratham for the welfare of Her devotees
Benefits of Observing Pacchai Pattini Vratham:
- You start purifying your body
- You create a space for Paramashiva and Parashakti to manifest.
- When they manifest, they spiritually heal the whole world.
- You are ultimately prepared for receiving this science of immortality
ABOUT SAMAYAPURAM MAHAMARIAMMAN
Mahamari Amman is the self-purification method of whole Prakriti.
Water element from the ocean gets purified by the fire element from the sun, becomes cloud, and showers as rain; the rain purifies the earth when it showers, and it purifies the air space too. All the five purifying itself is rain.
Mahamari, Parashakti is the self-purification of this whole Prakriti – nature. Fasting is purifying process for every individual.
Now (during this time of the Vratham every year), Mahamari, Parashakti, Prakriti – She Herself is observing this Pacchai Pattini Vratham. (By this) She is purifying not only the whole Prakriti; She is opening up the opportunity for all of us to purify ourselves completely along with Her.
Items for Naivedyam
1. Tullu Mavu (ground rice flour with jaggery powder)
2. Soaked Moong Dal (pasi paruppu with tender cucumber)
3. Panakam (Lemon Juice with Jaggery Water)
4. Neer Moru (Liquid Buttermilk)
5. Sugarcane pieces
6. Coconut water (any coconut water)
7. Fruits in meagre quantity (once daily)
Devotees who are on any fast can drink water
Daily lifestyle practices
– Have a bath (including hair wash) twice a day, morning and evening.
– Avoid shaving any part of your body or cut nails during this time.
– Continuous Ajapa Japa, Mahavakya Chanting: Om Nithyananda Paramashivoham
– Sleep on the floor. Use your pure woolen blanket (non-violent) as mattress and to cover yourself
– Observe brahmacharya
Naivedyam Timings
6 am : Tullu Mavu made with Kalkandu Powder
8am : Sugarcane pieces and Coconut water
12pm :
– Tullu Mavu made with jaggery powder
– Panakam (lemon juice with jaggery and cardamom only, no dry ginger)
– Liquid Buttermilk / Neer Moru (Churned curd mixed with water, no salt)
– Soaked Moong Dal (Pasiparuppu / split green gram with no husk
– with lemon juice and tender cucumber, no added mustard tempering or salt)
5pm : Tullu Mavu with jaggery powder & fruits**
8pm : Tullu Mavu made with Jaggery powder
9pm : Tullu Mavu made with Kalkandu powder.
** Note on Fruits
For naivedyam, preferably banana is to be offered. Kamika Agama says banana is the best among fruits. This offering is done to Devi at 5pm daily.
Those fasting can partake locally available fresh fruits in meagre quantity at that time.
Recipes
1. Tullu Mavu
Ingredients:
Jaggery powder — ½ measure (or Kalkandu powder)
Wet Rice Flour- 1 measure (see how to make below)
Cardamom — pinch, Cow ghee — very little
Method (Wet rice flour method):
Soak raw rice in water for 30–45 minutes.
Strain the water completely. Use a dry cotton cloth to completely drain the excess water. Grind it fine.
Please do not sieve after grinding.
Take one measure of wet rice flour, ½ measure of jaggery powder, add cardamom, add very little cow ghee. Tullu mavu is ready.
This is a one-time process that will take less than 5 minutes.
2. Pasi Paruppu (Soaked Moong Dal)
Ingredients:
Yellow moong dal — 50 gms
Water — just enough to cover the moong dal while soaking (2 inch above rice level)
Grated / fine chopped tender cucumber
Method:
Soak yellow split green gram dal (moong dal) in water for at least 0.5 hour. The way to test is when you take the moong dal it should be soft to consume. Strain the water.
Add tender cucumber and lemon juice to the softened moong daal
3. Panakam (Lemon juice with jaggery)
Ingredients:
Jaggery — 150 gms
Water — 600 ml (three glasses)
Juice of three lemons (medium size)
Add little cardamom (optional)
Method:
Soak jaggery in the water (use drinking water please) till it melts completely. Filter the water to remove any particles. Add the lemon juice.
Although it is refreshing at room temperature, it tastes even better when chilled.
4. Neer Moru (Liquid Buttermilk)
Ingredients:
Cow milk curd — 1 cup
Water — 5 cups
Method:
Beat curd with water, making it a thin liquid. Neer moru is ready.Note: Milk means a product from mammal. Only milk accepted for this vratham is non-violent cow milk which is used in the naivedyam to make buttermilk. If anybody is vegan and cannot have cow milk, and/or if cow milk in your place is obtained in a violent way, please avoid buttermilk. You can have other items from the list instead.
Dates
7 - 10 May 2011
Venue
Foro Italico
Location
Rome, Italy
Surface
Sand
Official ball
Tretorn Academy
Champions
Men's doubles: Alessandro Calbucci / Luca Meliconi (ITA)
Women's doubles: Simona Briganti / Laura Olivieri (ITA)
Nations represented
Italy, Brazil, France, Switzerland, Japan, Germany, Belgium, Spain, Czech Republic, Portugal, Austria, Poland, Belarus, Hungary, Russia, Greece and Bulgaria.
Dates ripening in an oasis below the soaring peak of Jebel Akhdhar (known as Green Mountain, because of its fertile soil).
Designed Date paste production units principle of hydration and insulation, so that the transfer of dates across the conveyor belt to the multi-layered hydration chamber to moisten dates using water vapor, to raise the dates, water content, temperature, to facilitate the process of insulation (remove cores and repression).
Complete the process by the transfer of wet dates across the conveyor belt to the insulation machine, which holds the process of separating the cores and repression Dates, Which produces free with a permanent softer impurities paste and golden color attractive, the production process continues to move the paste of dates to unit harmonies and cooling paste and pumped to the packing machine, to fill a paste of dates in a three bags welding and a variety of weights on demand, starting from 500 grams to 2000 grams. (Usually we offer two types of weights 500 grams and 1000 grams with the machine, while the other requests for different weights, are requested by the added value.).
After feeling inspired by the Mama Yee recipe, I finally got off my lazy behind and made an herbal concoction of my own mama's. Same recipe as Mama Yee's except I added a handful of goji berries for some added antioxidant benefits.
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.
Holy Trinity Church, in Godmanstone, Dorset, originally dates back to Norman times, though there was probably a timber church on the same site even earlier than that. The main doorway is Norman, as is the chancel arch. The Perpendicular tower dates from around 1400. The south and north chapels are late fifteenth or early sixteenth century, though the north chapel was extensively altered in later centuries. The church was extensively restored in the 1860s, especially in the chancel, and the Norman doorway was also plastered over.
Looking at the church exterior first, on the east window of the south chapel are two medieval carved heads on the hood-mouldings.
In the porch is a stone memorial slab, probably twelfth century, with a carved double-headed cross on it; this slab was discovered in the churchyard, covering a pit containing a quantity of human bones.
Inside the church, the chancel arch has incorporated into its south pillar an altar stone dedicated to Jove. Much of the inscription was lost when the stone was reused, but what remains offers enough for the whole inscription to be worked out. The altar stone was dedicated to Jupiter by Titinius Pines, a centurion in the third century AD. Where did the Norman church-builders find this Roman artefact? The most likely places are nearby Durnovaria (Dorchester), or a Romano-British villa discovered in 1960 just a mile from Godmanstone.
The churchyard is a peaceful place, with much of it left to grow wild, encouraging a profusion of wild flowers and wildlife. The gravestones have fine examples of the stonemason's lettering skills.
Yum Yum Yum, best Sahoor ever. This is my best discovery this Ramadan, they look "ok" but they are toooooo sweet and DELICIOUS!!!
(Shot by Sonyericsson)
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Dates: 1860-1880
Maker: Unidentified
Place: USA
Donor: Special Acquisitions Fund
Photographer Credit: Scottish Rite Masonic Museum & Library
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An assortment of Irani & Pakistani dates. Taken at Beadon Road, Lahore.