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©2013 Susan Ogden-All Rights Reserved
"Every Storm (Runs Out Of Rain)"
I saw you standing in the middle of the thunder and lightning
I know you're feeling like you just can't win, but you're trying
It's hard to keep on keepin' on, when you're being pushed around
Don't even know which way is up, you just keep spinning down, 'round, down…
Every storm runs, runs out of rain
Just like every dark night turns into day
Every heartache will fade away
Just like every storm runs, runs out of rain
So hold your head up and tell yourself that there's something more
And walk out that door,
Go find a new rose, don't be afraid of the thorns
'Cause we all have thorns
Just put your feet up to the edge, put your face in the wind
And when you fall back down, keep on rememberin'
Every storm runs, runs out of rain
Just like every dark night turns into day
Every heartache will fade away
Just like every storm runs, runs out of rain
It's gonna run out of pain
It's gonna run out of sting
It's gonna leave you alone
It's gonna set you free
Set you free
Every storm runs, runs out of rain
Just like every dark night turns into day
Every heartache will fade away
Just like every storm runs, runs out of rain
It's gonna set you free,
It's gonna run out of pain,
It's gonna set you free
A current favorite of mine...loud and driving aimlessly:) ENJOY!
www.everyoneandtheirmomshow.blogspot.com
I did a little write up on our website about the equipment we use. Here I've made some incredibly confusing notes on the photo about how this whole mess is connected.
Photo nerd info:
Edited RAW in ViewNX, just sharpened up +5.
Strobist: One SB-600 on TTL bounced off the ceiling. Another SB-600 on 1/16 power just above to the right. Pocketwizard FlexTT5 triggered by a MiniTT1.
Every year we go to Tiger Winery in Northern Georgia and over the years my wife and I have collected quite a few wine glasses.
www.youtube.com/watch?v=CtRDKi7dRg0
Don't ask why,
Let's just feel what we feel, 'cause sometimes,
It's the secret that keeps it alive
But if you need a reason why'
It's every little thing you do
That makes me fall in love with you
There isn't a way that I can show you
Ever since I've come to know you
It's every little thing you say
That makes me wanna feel this way
There's not a thing that I can point to
'Cause it's every little thing you do
File name: 10_03_000466a
Binder label: Beverages
Title: Every body uses Scull's Champion Coffee. So they do. Who said da donât [front]
Created/Published: Phila. [i. e. Philadelphia] : F. G. Stuart & Co.
Date issued: 1870 - 1900 (approximate)
Physical description: 1 print : lithograph ; 8 x 12 cm.
Genre: Advertising cards
Subject: Men; Donkeys; Birds; Coffee
Notes: Title from item.
Statement of responsibility: W. S. Scull & Co.
Collection: 19th Century American Trade Cards
Location: Print Department
Rights: No known restrictions.
28-08 Bố về :)
Cứ biết thế đã :(
nghe bài này đy :x
http://mp3.zing.vn/mp3/nghe-bai-hat/Every-time-Britney-Spears.IW6I87F6.html
Bertie Bott's Every Flavour Beans - Banana, Earwax, Earthworm, Bogey, Green Apple, Marshmallow, Black Pepper, Rotten Egg, Sherbert Lemon, Soap, Grass, Dirt, Vomit, Blueberry, Tutti-Frutti, Watermelon, Cinnamon, Candyfloss, Sausage, Cherry.
People the world-over have been enchanted by the Harry Potter films for nearly a decade. The wonderful special effects and amazing creatures have made this iconic series beloved to both young and old - and now, for the first time, the doors are going to be opened for everyone at the studio where it first began. You'll have the chance to go behind-the-scenes and see many things the camera never showed. From breathtakingly detailed sets to stunning costumes, props and animatronics, Warner Bros. Studio Tour London provides a unique showcase of the extraordinary British artistry, technology and talent that went into making the most successful film series of all time. Secrets will be revealed.
Warner Bros. Studio Tour London provides an amazing new opportunity to explore the magic of the Harry Potter films - the most successful film series of all time. This unique walking tour takes you behind-the-scenes and showcases a huge array of beautiful sets, costumes and props. It also reveals some closely guarded secrets, including facts about the special effects and animatronics that made these films so hugely popular all over the world.
Here are just some of the things you can expect to see and do:
- Step inside and discover the actual Great Hall.
- Explore Dumbledore’s office and discover never-before-seen treasures.
- Step onto the famous cobbles of Diagon Alley, featuring the shop fronts of Ollivanders wand shop, Flourish and Blotts, the Weasleys' Wizard Wheezes, Gringotts Wizarding Bank and Eeylops Owl Emporium.
- See iconic props from the films, including Harry’s Nimbus 2000 and Hagrid’s motorcycle.
Learn how creatures were brought to life with green screen effects, animatronics and life-sized models.
- Rediscover other memorable sets from the film series, including the Gryffindor common room, the boys’ dormitory, Hagrid’s hut, Potion’s classroom and Professor Umbridge’s office at the Ministry of Magic.
Located just 20 miles from the heart of London at Warner Bros. Studios Leavesden, the very place where it all began and where all eight of the Harry Potter films were brought to life. The Studio Tour is accessible to everyone and promises to be a truly memorable experience - whether you’re an avid Harry Potter fan, an all-round movie buff or you just want to try something that’s a little bit different.
The tour is estimated to take approximately three hours (I was in there for 5 hours!), however, as the tour is mostly self guided, you are free to explore the attraction at your own pace. During this time you will be able to see many of the best-loved sets and exhibits from the films. Unique and precious items from the films will also be on display, alongside some exciting hands-on interactive exhibits that will make you feel like you’re actually there.
The magic also continues in the Gift Shop, which is full of exciting souvenirs and official merchandise, designed to create an everlasting memory of your day at Warner Bros. Studio Tour London.
Hogwarts Castle Model - Get a 360 degree view of the incredible, hand sculpted 1:24 scale construction that features within the Studio Tour. The Hogwarts castle model is the jewel of the Art Department having been built for the first film, Harry Potter and the Philosopher’s Stone. It took 86 artists and crew members to construct the first version which was then rebuilt and altered many times over for the next seven films. The work was so extensive that if one was to add all the man hours that have gone into building and reworking the model, it would come to over 74 years. The model was used for aerial photography, and was digitally scanned for CGI scenes.
The model, which sits at nearly 50 feet in diameter, has over 2,500 fibre optic lights that simulate lanterns and torches and even gave the illusion of students passing through hallways in the films. To show off the lighting to full effect a day-to-night cycle will take place every four minutes so you can experience its full beauty.
An amazing amount of detail went into the making of the model: all the doors are hinged, real plants are used for landscaping and miniature birds are housed in the Owlery. To make the model appear even more realistic, artists rebuilt miniature versions of the courtyards from Alnwick Castle and Durham Cathedral, where scenes from Harry Potter and the Philosopher’s Stone were shot.
Every moment of every living existence, it's either you're convinced to act from Love, or you're convinced to act from Fear.
Location: Universal Orlando, 6000 Universal Boulevard, Orlando, FL 32819
[ cada día tengo el blues ]
[ every day I have the blues ]
Hasselblad 501 C
Ilford HP5+ to 1600
Sekonic 758 D
Manfrotto 055 CLB
Tetenal Ultrafin Plus
Lightroom 1.3
Barcelona - Spain
March - 2008
© Jordi Esteban 2008
All the materials contained in my gallery may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission. My images do not belong to the public domain.
Every year in Spring, the Fae dance to celebrate Spring Flowers, and we invite all our friends!
Sis J and sir Giles
Street performance or busking is the practice of performing in public places, for gratuities, which are generally in the form of money and edibles. People engaging in this practice are called street performers, buskers, street musicians, minstrels, or troubadours.
these were found within 5 hens we butchered yesterday.
yes, they were fully formed.
i had a couple for lunch fried up with swiss chard.
quite the anatomy lesson let me tell ya.
for the kids and adults alike.
Well, my photo taken at Ayr Beach, this afternoon tells you that we had a lovely sunny day!
However, the song was written by Rod Stewart ...
Spent some time feeling inferior
Standing in front of my mirror
Combed my hair in a thousand ways
But I came out looking just the same
Flickr Lounge ~ Weekly Theme (Week 19) ~ Lyrics ...
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!
Every November, the Fort McDowell Yavapai Nation hosts a national Native American rodeo northeast of Phoenix, Arizona. Contestants come from all over to compete.
Every Tongue Confess
U.Va. Department of Drama
October 2014
This photograph is licensed to the University of Virginia Department of Drama for its marketing and advertising purposes. Third party use without consent of the photographer is prohibited.
_____________________________________
Department of Drama
University of Virginia
EVERY TONGUE CONFESS
by Marcus Gardley
Directed by Theresa M. Davis
Scenic Design by Rachel DelGaudio
Costume Design by Gweneth West
Lighting Design by R. Lee Kennedy
Sound Design by Wren Curtis
Music Direction by Anthony Johnson
Voice, Text, and Accent Coaching by Kate Burke
Fight Direction by John Paul Scheidler
Choreography by Katie Baer Schetlick
Technical Direction by Austin Manning
Every Tongue Confess is presented by special arrangement with
Marcus Gardley and William Morris Endeavor Entertainment, LLC.
Presented with support from the Office of the Provost and the
Vice Provost for the Arts and in cooperation with The Carter G. Woodson Institute
for African American and African Studies.
Cast of Characters (in order of appearance)
Missionary/Tender Meeks.....................................................Amanda Diamond
Elder/Jeramiah..........................................................................Richard Cooper
Brother/Bobby.......................................................................... Brandon C. Lee
Bernadette.................................................................................Mendy St. Ours
Benny Pride..........................................................................Madeleine Lawson
Shadrack..................................................................................... Israel Vaughan
Mother Sister...........................................................................Angelica Jackson
Stoker Pride........................................................................................ Jon Emm
Blacksmith..............................................................................Bernard Hankins
Congregation Members.............................. Ronald Middleton*, Aisha Thomas,
Ashlyn Walker, Kelsey Watkins
Understudies........................................ Ronald Middleton (Shadrack, Brother),
Aisha Thomas (Missionary, Mother Sister), Whitney Wegman (Bernadette)
*Fight Captain
TIME & PLACE: The summer of 1996 in Alabama and Kentucky
There will be one 15-minute intermission.
Who’s Who in EVERY TONGUE CONFESS
Kate Burke (Associate Professor, Voice and Speech).
Richard Cooper Boys Next Door (U.Va. Drama); To Kill A Mockingbird, You
Can’t Take It With You (Heritage); As You Like It (Midsummer Players); The
Homecoming (Hamner Theatre); Seven Guitars, Topdog/Underdog, Vinegar Hill
(Live Arts).
Wren Curtis (U.Va. 2011): Elephant’s Graveyard, Dark Play (U.Va. Drama);
Chance, Rosencrantz and Guildenstern are Dead (PVCC Drama); The Master and
Margarita, Adding Machine: A Musical (Live Arts).
Theresa M. Davis (Associate Professor, Cross Cultural Performance).
Rachel DelGaudio (2nd Year, MFA Scenic Design): Museum (U.Va. Drama).
Amanda Diamond (3rd Year, Drama): The Mystery of Edwin Drood (FYP);
Arabian Nights (Spectrum Theatre).
Jon Emm How I Learned to Drive, Wait Until Dark, Complete Works of William
Shakespeare, Abridged, Bobby Gould in Hell (Los Angeles); The Crucible, The
Marriage Proposal (San Francisco); Memory of Water (Live Arts).
Bernard Hankins (U.Va. 2004): I Shall Not Be Moved (Phoenix Theatre); A Call
to Action (Y.A.L.I.); Move (Cypher).
Angelica Jackson (U.Va. 2013): A Christmas Carol, Pinkalicious, The Rise &
Fall of Little Voice (Walnut Street Theatre); Cinderella, Christmas in Washington
(Lincoln Theatre); Parade, Pippin (U.Va. Drama); Avenue Q (Spectrum).
Anthony Johnson First Baptist Church West Main.
R. Lee Kennedy (Associate Professor, Lighting Design).
Madeleine Lawson (3rd Year, Drama & English): Then... (The Cry Havoc
Company, NYC); Museum, The Forgetting River (U.Va. Drama).
Brandon C. Lee (U.Va 2006): Clybourne Park (Live Arts); Turn (AMC); When
Freedom Came (PBS & The Colonial Williamsburg Foundation).
Austin Manning (3rd Year MFA Technical Direction): A Flea In Her Ear, You
Can’t Take It With You (U.Va. Drama).
Katie Baer Schetlick (Lecturer, Dance): Dixon Place, Movement Research
(NYC); The Museum Perron Oost (Netherlands); The International Dance
Theatres Festival (Lublin); Downtown Contemporary Arts Festival (Cairo).
Mendy St. Ours (U.Va. 2000): Misalliance, In the Widening Gyre, Our Country’s
Good, Love’s Fire, The Homecoming, The Maids (U.Va. Drama); Les Liaisons
Dangereuses, Angels in America, Cat on a Hot Tin Roof (Live Arts).
Aisha Thomas I Shall Not Be Moved, Court-Martial at Fort Devens (Phoenix Theatre);
A Call to Action (Y.A.L.I.); Donning of the Kente Ceremony (U.Va. Drama).
Israel Vaughan (3rd Year, Leadership & Public Policy).
Whitney Wegman (U.Va. MFA Drama 2014): Crazy For You, You Can’t Take It
With You, Rhinoceros, Romeo and Juliet, Vinegar Tom (U.Va. Drama); The Dead
Guy (OnStage Atlanta).
Gweneth West (Professor, Costume Design).
Production Staff
Assistant Director..................................................................... Alexandria Wishy
Company Stage Managers............................Nancy-Wren Bradshaw, Julia Hurley,
Mary Margaret Watkins
Performance Stage Manager..............................................................Max Krembs
Dramaturg.......................................................................... Michell Nicole Miller
Department Chair..............................................................................Tom Bloom
Department Technical Director........................................................Steve Warner
Assistant Technical Director........................................................Mark Molchany
Scenic Charge...........................................................................Hilary Landowski
Scene Shop Foreman.......................................................................Chris Rybitski
Carpenters.......................... Ashlye Allison, Anderson Grainger, Louis Lukaczyk,
John Mennell, Caroline Secrest, Ruth Walston, Students of Drama 2210
Painters...................................Jess Burnam, Jackson Casady, Evelina Dubrowsky,
Mariana Gonzalez, Sophie Peeters, Susan Xie
Prop Master, Prop Shop and Storage Manager.................................... Sam Flippo
Assistant Costume Designer............................................................. Kaitlin Sikes
Assistants to the Designer.................................Mfon-Abasi Obong, Haley Tynes
Costume Technology Faculty Advisor..............................................Marcy Linton
Costume Shop Manager................................................................Dorothy Smith
Costume Shop Assistants........................................... Jacqueline Ford, Jessica Utz
Stitchers.......................................................................... Students of Drama 2310
Wardrobe Supervisor..........................................................................Haley Tynes
Wardrobe Crew..............................Sri Devi McCabe, Anh Oh, Terrance Thomas
Assistant Lighting Designer...............................................................Steven Spera
Master Electrician........................................................................... Fabian Garcia
Assistant Master Electrician.............................................Matthew Jefferson Ishee
Electricians......................................... Chelsea Dickens, Students of Drama 2130
Light Board Operator................................................................... Steven Johnson
Sound Engineer................................................................................Max Krembs
Sound Board Operator................................................................Rebecca Zeledon
Production Assistant......................................................................Micah Watson
Run Crew...................................... Ava Chen, Tim Lewis, Ana Solis Van Hoorde
Business Manager.............................................................................. James Scales
Assistant Business Manager...............................................................Judy McPeak
Drama Administrative Staff.................................Barbara Koonin, Theresa Lamb
U.Va. Arts Box Office Manager...................................................Andrew Burnett
Box Office Staff................................... Jon Belka, Brady Blouin, Phil Digiacomo,
Sophie Kaemmerle, David McKillop, Kristina McCloskey,
Sally Nobinger, Katherine Ripley, Milika Robbins
House Manager............................................................................Phil Digiacomo
Publicity Manager......................................................................... Jacqueline Ford
Publicity Assistant................................................................................ Tim Lewis
Administrative Assistant....................................................................Lynne Cates
Production Coordinator...............................................................Caitlin McLeod
The Flames Can Baptize
Notes from the Dramaturg
“For the arsonists and those that get burned…”
–Marcus Gardley
On June 8th, 1996, President Bill Clinton called for an end to the
“depraved” acts of domestic terrorism against black churches in the
Southeast. Throughout the mid-nineties, there were over 300 church
burnings from Richmond, Virginia down to the Mississippi Delta.
It was suspected that these arsons were racially motivated, but many
government officials were skeptical about the reality of this racial
terror in the South. Despite Clinton’s address, the federal government
did not intervene in the investigation of these occurrences.
In Every Tongue Confess, poet-playwright Marcus Gardley
reimagines the mysterious story of these events and places us in
Boligee, Alabama— a small town where several black churches
were burned to the ground. Gardley uses the emphatic rhythm of
devotional gospel and the tragic-humor of delta blues to explore the
meta-physical world of this community. Here, fire is the impetus for
healing and destruction. Here, the flames of a burning sanctuary,
the fiery shadows of “strange fruit” are all subject to a supernatural
realism. Here, the audience is meant to act as a witness. We are meant
to react—to engage with the atmosphere.
In a recent interview, Gardley says, “My writing is like my
ministry. We have so many traumas and need so much healing in our
communities. I want my work to be part of the healing process.” With
a lyrical grace and grotesque cadence, this production demonstrates
how the power of faith and the spoken word can conjure the presence
of God to find redemption, to speak truth, to smolder the fire in
our bellies, and mend our broken hearts. Despite the horror of these
arsons, Every Tongue Confess aims to unearth the profound question:
How has our shared history as citizens in this country affected our
capacity to love?
— Michell Nicole Miller
ACknowledgments
Special thanks to the students of Drama 2430
Special thanks to Arena Stage, WDC,
and Costume Designer for the 2010 production of
Every Tongue Confess, Ilona Somogyi, for the design
of Mother Sister’s white robe, red stole and the “red threads”.
Special thanks to Lynne Cates, Dr. Kimberly Chandler,
Marianne Kubik, Kathy Matthew, Peggy McKowen, Laura Tappan,
William Vlasis, Ivy Corner Garden Center
Like UVA Department of Drama on Facebook
Follow @uvadrama on Twitter
Upcoming Shows
The Rimers of Eldritch
November 13 -15 and
November 19 – 22 at 8pm
Ruth Caplin Theatre
Fall Experimental Dance Concert
November 20 – 22 at 7:30pm
Culbreth Theatre
Every time I walk this path with my two beloved Westies, Buddy and Shadow, this section brings to mind Paul McCartney's song, The Long and Winding Road.
And I end up thinking about it as a metaphor for life in general, and my relationship with my loved ones (including my Westies). And it always makes me happy, because its the journey, not the destination, that counts.
Ex Cavendish Dennis Dart T553HNH is seen in the Stagecoach Depot in Farlington Portsmouth, this vehicle is used on the free conecting service between Tesco & Havant Town Centre, it would appear that Emsworth & District have now taken over this contract !
Every navy needs logistics. Here we have the Eifel class repair ship (left) and the Lüneburg class fleet tender (right).
Credit to Lego Pilot for much of the hull design.
Every day I remind myself that my inner and outer life are based on the labors of other men, living and dead, and that I must exert myself in order to give in the same measure as I have received and am still receiving.
I freeze for these places, windswept and restless as they are. The breeze off the river is almost neverending, high on this hilltop field. The stone of Susan Messinger withstands it all, and all alone, hosting growing lichen for 150 years – a century-and-a-half holding her own against every storm. You might start thinking it's impossible, that time had taken every toll by now, but some backs are stiff and restraining. Resistant to changing, porous limestone making welcome for every passing spore and particle of dust. They settle in the letters, take shelter in numbers, find persistent life in the home of the dead. I stayed for only ten minutes, but lost most of my warmth in that time. I felt a chill that Alfred would have known well, at the grave of his wife, lost at 32.
January 8, 2021
Messinger Burial Ground
Centrelea, Nova Scotia
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Every man is an island in a sea of souls. By Arthur Tugman
The wind of humanity washes over me
Tugging at my clothes, sucking the breath from my lungs.
My brain is numb with its coldness
The stream of chatter, Cascades down the escalators
Deafening, drowning.
I am jettisoned into the sea
You ask me to believe in magic
Expect me to commit suicide of the heart
And you ask me to play this game without question
Raising the stakes on this shotgun roulette
But you came to me like the ways of children
Simple as breathing, easy as air
Now the years hold no fears, like the wind they pass over
Loved, forgiven, washed, saved
Every river I try to cross
Every hill I try to climb
Every ocean I try to swim
Every road I try to find
All the ways of my life
I'd rather be with you
There's no way
Without you
...................Runrig...............
Every year our local union (Presbyterian/Methodist combined) church, St James, works with other congregations in town (including our own) to present a fantastic evening of fun and fantasy on All Hallows eve (Hallowe'en). The large wooden-floored hall is used first as an indoor play-space with various ride-on toys, and then as a gathering space for the fancy dress parade.
www.youtube.com/watch?v=Eu2DA4I4TGw
Having teens...and having teens go through what they go through sometimes, Brought back emotions of the same and this song came to mind...
Every Rose Has It's Thorn...Poison
We both lie silently still
In the dead of the night
Although we both lie close together
We feel miles apart inside
Was it something I said or something I did
Did my words not come out right
Though I tried not to hurt you
Though I tried
But I guess thats why they say
Every rose has its thorn
Just like every night has its dawn
Just like every cowboy sings his sad, sad song
Every rose has its thorn
Yeah it does
I listen to our favorite song
Playing on the radio
Hear the dj say loves a game of easy come and
Easy go
But I wonder does he know
Has he ever felt like this
And I know that youd be here right now
If I could have let you know somehow
I guess
Though its been a while now
I can still feel so much pain
Like a knife that cuts you the wound heals
But the scar, that scar remains
I know I could have saved a love that night
If Id known what to say
Instead of makin love
We both made our separate ways
But now I hear you found somebody new
And that I never meant that much to you
To hear that tears me up inside
And to see you cuts me like a knife
I guess
Returned to Firenze was one of the most exciting things during this trip.At first I didn't expect such beatiful weather here coz in Rome it was gloomy and cloudy.The toscan sun really made us enjoy 120% of our stay.Before sunset, we got to the piazzale michelangelo (or michelangiolo, I was confused by its name).There were some people waiting for the sunset sitting on the steps, most of them were pairs, lovers or friends.It was getting dark and the color of sky changed in every instant.Romantic.
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.
Every creative person should carry around a journal to keep a permanent record of ideas, designs, and musings. I have stacks of them.
Water & Light at Sassi Mazar Balochistan May30, 2015
SUN SHINES IN THE NIGHT
Sassi punnu mausoleum got Solar Energy
Every year thousands of peoples from various parts of Sindh, Baluchistan and Punjab gather at the shrine of Sassi and Punnu in Singher village to attend a 3 days carnival. Singher village is , 52 Kilometers away from Hub town. Singher means chain, as the village is surrounded by the chain of hills where it is believed that Sassi and Punnu were buried under a landslide.
Before the monsoon a carnival organizing committee receives donation from the Baloch tribal chiefs of Sindh and Balochistan to bear the expenditures of the event. Collected funds are mostly used for providing food, water and accommodation to all the devotees there. Sufi Faqirs (singers) from Sindh, Balochistan and Punjab travel to perform songs on the occasion to pay homage to Sassi Punnu, the popular tragic romance of Sindh and Balochistan. Besides folk songs, a traditional Sindhi game malakhro similar to Japanese wrestling sumo also attracts a large number of the people to come there.
Lands from mountains with old graves scattered in the area and rainy water ways are quite difficult to cross for the travellers. Despite this, devotees, males and females, travel long distance to visit the site the entire year. For the local people, camel is the only means of transport and people gather there during the occasion.
There is only one well, which is useful for the communities otherwise the entire area underground water level is unsafe for human consumption. In case the area receives monsoon rains the people use rainy water from ponds.
For the benefit of peoples living in surroundings as well as devotees who visit during carnival and over the year, Masood Lohar, country Manager UNDP, GEF small grant program decided to use solar energy for providing clean and safe water and lighting on the mausoleum.
On 30th May 2015, Shaan Technologies Private Limited installed a 3 HP Solar Powered pump on a 250 ft deep well that is located near the tomb. Operating on a 3 kilowatt solar panel bank this pump provide 30 Gallon water per minutes & eliminates requirement of diesel generator operated pump that organizing committee previously used to supply water during the festival.
Now solar pump serves as a continuous source of clean water without any additional cost. A water tank is provided to store pumped water. This tank helped as a 24 hours ready source of water for the local people.
In addition to that 2 solar powered floodlights were also installed in front yard of tomb. These 14 watt LED lights runs on a 35 watt solar panel that provide sufficient power to run LED lamps up to 12 hours. Dusk to Dawn photo sensors is also used in the system that automatically turns on the light just before the sunset and turns off at dawn. This project was financed by the UNDP GEF Small grant program. Lodhie foundation contributed 10% cost of the project under its poverty alleviation initiative.
Project Summary
Location: Sassi Punnu Moseleum, Singher Village, Near Hub Dam, Baluchistan
Coordinates: 25°18'41"N 66°53'21"E
Nearby cities: Karachi, Hub City, Sonmiani / Winder city
Initiated By: UNDP, GEF Small Grant Program in association of Lodhie Foundation
Implemented by: Shaan Technologies Private Limited Karachi
Implantation Date: 30Th May 2015
Equipment installed:
(1) One 3HP DC Submersible water pump with 3KW Solar panels and Pump Controller
(2) Two Solar Powered LED Floodlights
Beneficiaries: Up to 2500 people living in the Singher village and surroundings
Folktale of Sassi & Punnu
Sassi Punnu is a famous folktale of love told in the length and breadth of Sindh, Pakistan. The story is about a faithful wife who is ready to undergo all kinds of troubles that would come her way while seeking her beloved husband who was separated from her by the rivals
Sassi was the daughter of a Brahman Hindu Rajah from Rohri . Upon Sassui's birth, astrologers predicted that she was a curse for the royal family’s prestige. The Raja ordered that the child be put in a wooden box and thrown in the Sindhu, present day’s river Indus. However, she was saved by a washer-man belonging to Bhanbhor, near Gharo district, Thatta . The washer-man raised her as his own daughter.
When Sassui became a young girl, she was as beautiful as the fairies of heaven. Stories of her beauty reached Punhun a prince from Kech Makran Balochistan and he became desperate to meet Sassi. The handsome young Prince therefore travelled to Bhambore. He sent his clothes to Sassi's father (a washerman) so that he could catch a glimpse of Sassi. When he visited the washerman's house, they fell in love at first sight. Sassui's father was dispirited, hoping that Sassi would marry a washerman and no one else. He asked Punnhun to prove that he was worthy of Sassui by passing the test as a washerman. Punnhun agreed to prove his love. While washing, he tore all the clothes as, being a prince, he had never washed any clothes; he thus failed the agreement. But before he returned those clothes, he hid gold coins in the pockets of all the clothes, hoping this would keep the villagers quiet. The trick worked, and Sassui's father agreed to the marriage.
At last Punnu (Punhoon) married her. However, his father, Ari, the King of Ketch, did not like his son getting married to a low-caste girl, so he instructed his other sons to go to Bhanbhor and bring back Punnu at any cost. They visited Punnu as his guests and during the night they intoxicated him and his wife. Later, they put their brother on one of the camels and left. When Sassi woke up in the morning, she was shocked to find Punnu missing and all his brothers gone. She understood their trickery. She left Bhambhor immediately to Kech Makran on foot in search of him. The Kech Makran is located along the Makran Coastal Highway in Baluchistan, Pakistan.
After crossing Pab Mountain, she reached the Harho range. She could not proceed further when her path was blocked by the Phor River. So she started retracing her steps. Soon she was accosted by a beastly goatherd who intended to molest her. Sassi prayed to God for protection. Immediately the ground below her feet started caving in like quicksand and she disappeared within seconds. Seeing the miracle, the goatherd repented sincerely, and to make amends for his misconduct, he made a grave in the site and became its custodian.
Punnu found no peace of mind at Kech. He languished and soon became an invalid. Under the circumstances, his father allowed him to return to Bhambhor.
During his return journey, Punnu happened to pass by the site where Sassi had met her death. When the goatherd came to know his story, he told him as to what had happened to Sassi. Punnu was beside himself on hearing the horrible news.
He prayed to God to unite him with Sassi. Again the ground became quicksand and he soon disappeared into the bowels of the earth. So came to an end the tragic love story of Sassi and Punnu. The legendary grave still exists in this valley.
The famous Sufi saint and poet Shah Abdul Latif Bhittai sings this historic tale in his sufi poetry “Shah jo Risalo” as an example of eternal love and union with Divine.
Sassi’s resting place is said to be about 45 miles away in the Pub range to the west of Karachi. A local man of some importance constructed a simple mausoleum in 1980 over the joint grave of Sassi and Punnu. It is often visited by tourists.
Every now and then I just dive into an older folder on my hard drive and rummage around - and here's what I found from our 2010 trip to Grand Teton National Park that I had never posted. On the day we visited the Moulton Barns on Mormon Row, we wandered around the homestead and found this old wood pile. A curious little weasel was scurrying around squeaking and playing peek-a-boo with us.
I tried to figure out why weasels have such a bad rep; indeec labelling someone as a "weasel" is an insult.
While the word "weasel" in English often has negative connotations of someone who is devious or treacherous, and these carnivores have earned a bad reputation as consumers of poultry, weasels provide many values for ecosystems and humans. Ecologically, they are vital components in many terrestrial and aquatic food chains, consuming rodents, fish, frogs, and eggs, and being consumed by foxes, coyotes, and predatory birds (hawks and owls). They help greatly in the reduction of rodent populations, including mice, rats, squirrels, shrews, and rabbits, even chasing them into their burrows—a benefit that likely exceeds their detriment to poultry farmers.
www.newworldencyclopedia.org/entry/weasel
There are no poultry pens in Mormon Row so I assume he was earning his keep chasing mice - as we did see a few of those too.