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Plant nursery in Yangambi, DRC.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
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A dragonfly is an insect belonging to the order Odonata, infraorder Anisoptera (from Greek ἄνισος anisos, "unequal" and πτερόν pteron, "wing", because the hindwing is broader than the forewing). Adult dragonflies are characterized by large, multifaceted eyes, two pairs of strong, transparent wings, sometimes with coloured patches, and an elongated body. Dragonflies can be mistaken for the related group, damselflies (Zygoptera), which are similar in structure, though usually lighter in build; however, the wings of most dragonflies are held flat and away from the body, while damselflies hold their wings folded at rest, along or above the abdomen. Dragonflies are agile fliers, while damselflies have a weaker, fluttery flight. Many dragonflies have brilliant iridescent or metallic colours produced by structural colouration, making them conspicuous in flight. An adult dragonfly's compound eyes have nearly 24,000 ommatidia each.
Fossils of very large dragonfly-like insects, sometimes called griffinflies, are found from 325 million years ago (Mya) in Upper Carboniferous rocks; these had wingspans up to about 750 mm (30 in), but were only distant ancestors, not true dragonflies. About 3,000 extant species of true dragonfly are known. Most are tropical, with fewer species in temperate regions. Loss of wetland habitat threatens dragonfly populations around the world.
Dragonflies are predators, both in their aquatic nymphs stage (also known as naiads) and as adults. In some species, the nymphal stage lasts for up to five years, and the adult stage may be as long as ten weeks, but most species have an adult lifespan in the order of five weeks or less, and some survive for only a few days. They are fast, agile fliers, sometimes migrating across oceans, and often live near water. They have a uniquely complex mode of reproduction involving indirect insemination, delayed fertilization, and sperm competition. During mating, the male grasps the female at the back of the head, and the female curls her abdomen under her body to pick up sperm from the male's secondary genitalia at the front of his abdomen, forming the "heart" or "wheel" posture.
Dragonflies are represented in human culture on artefacts such as pottery, rock paintings, statues and Art Nouveau jewellery. They are used in traditional medicine in Japan and China, and caught for food in Indonesia. They are symbols of courage, strength, and happiness in Japan, but seen as sinister in European folklore. Their bright colours and agile flight are admired in the poetry of Lord Tennyson and the prose of H. E. Bates.
Evolution
Dragonflies and their relatives are similar in structure to an ancient group, meganisoptera, from the 325 Mya Upper Carboniferous of Europe, a group that included the largest insect that ever lived, Meganeuropsis permiana from the Early Permian, with a wingspan around 750 mm (30 in);. Known informally as "griffinflies", their fossil record ends with the Permian–Triassic extinction event (about 247 Mya). The Protanisoptera, another ancestral group that lacks certain wing vein characters found in modern Odonata, lived from the Early to Late Permian age until the end Permian event, and are known from fossil wings from current-day United States, Russia, and Australia, suggesting they might have been cosmopolitan in distribution. While both of those groups are sometimes referred to as "giant dragonflies", in fact true dragonflies/odonata are more modern insects that had not evolved yet.
Modern dragonflies do retain some traits of their distant predecessors, and are in a group known as palaeoptera, ancient-winged. They, like the gigantic pre-dinosaur griffinflies, lack the ability to fold their wings up against their bodies in the way modern insects do, although some evolved their own different way to do so. The forerunners of modern Odonata are included in a clade called the Panodonata, which include the basal Zygoptera (damselflies) and the Anisoptera (true dragonflies). Today, some 3,000 species are extant around the world.
The relationships of anisopteran families are not fully resolved as of 2013, but all the families are monophyletic except the Corduliidae; the Gomphidae are a sister taxon to all other Anisoptera, the Austropetaliidae are sister to the Aeshnoidea, and the Chlorogomphidae are sister to a clade that includes the Synthemistidae and Libellulidae. On the cladogram, dashed lines indicate unresolved relationships; English names are given (in parentheses)
Distribution and diversity
About 3,012 species of dragonflies were known in 2010; these are classified into 348 genera in 11 families. The distribution of diversity within the biogeographical regions are summarized below (the world numbers are not ordinary totals, as overlaps in species occur).
Dragonflies live on every continent except Antarctica. In contrast to the damselflies (Zygoptera), which tend to have restricted distributions, some genera and species are spread across continents. For example, the blue-eyed darner Rhionaeschna multicolor lives all across North America, and in Central America; emperors Anax live throughout the Americas from as far north as Newfoundland to as far south as Bahia Blanca in Argentina, across Europe to central Asia, North Africa, and the Middle East. The globe skimmer Pantala flavescens is probably the most widespread dragonfly species in the world; it is cosmopolitan, occurring on all continents in the warmer regions. Most Anisoptera species are tropical, with far fewer species in temperate regions.
Some dragonflies, including libellulids and aeshnids, live in desert pools, for example in the Mojave Desert, where they are active in shade temperatures between 18 and 45 °C (64.4 to 113 °F); these insects were able to survive body temperatures above the thermal death point of insects of the same species in cooler places.
Dragonflies live from sea level up to the mountains, decreasing in species diversity with altitude. Their altitudinal limit is about 3700 m, represented by a species of Aeshna in the Pamirs.
Dragonflies become scarce at higher latitudes. They are not native to Iceland, but individuals are occasionally swept in by strong winds, including a Hemianax ephippiger native to North Africa, and an unidentified darter species. In Kamchatka, only a few species of dragonfly including the treeline emerald Somatochlora arctica and some aeshnids such as Aeshna subarctica are found, possibly because of the low temperature of the lakes there. The treeline emerald also lives in northern Alaska, within the Arctic Circle, making it the most northerly of all dragonflies.
General description
Dragonflies (suborder Anisoptera) are heavy-bodied, strong-flying insects that hold their wings horizontally both in flight and at rest. By contrast, damselflies (suborder Zygoptera) have slender bodies and fly more weakly; most species fold their wings over the abdomen when stationary, and the eyes are well separated on the sides of the head.
An adult dragonfly has three distinct segments, the head, thorax, and abdomen, as in all insects. It has a chitinous exoskeleton of hard plates held together with flexible membranes. The head is large with very short antennae. It is dominated by the two compound eyes, which cover most of its surface. The compound eyes are made up of ommatidia, the numbers being greater in the larger species. Aeshna interrupta has 22650 ommatidia of two varying sizes, 4500 being large. The facets facing downward tend to be smaller. Petalura gigantea has 23890 ommatidia of just one size. These facets provide complete vision in the frontal hemisphere of the dragonfly. The compound eyes meet at the top of the head (except in the Petaluridae and Gomphidae, as also in the genus Epiophlebia). Also, they have three simple eyes or ocelli. The mouthparts are adapted for biting with a toothed jaw; the flap-like labrum, at the front of the mouth, can be shot rapidly forward to catch prey. The head has a system for locking it in place that consists of muscles and small hairs on the back of the head that grip structures on the front of the first thoracic segment. This arrester system is unique to the Odonata, and is activated when feeding and during tandem flight.
The thorax consists of three segments as in all insects. The prothorax is small and is flattened dorsally into a shield-like disc, which has two transverse ridges. The mesothorax and metathorax are fused into a rigid, box-like structure with internal bracing, and provide a robust attachment for the powerful wing muscles inside. The thorax bears two pairs of wings and three pairs of legs. The wings are long, veined, and membranous, narrower at the tip and wider at the base. The hindwings are broader than the forewings and the venation is different at the base. The veins carry haemolymph, which is analogous to blood in vertebrates, and carries out many similar functions, but which also serves a hydraulic function to expand the body between nymphal stages (instars) and to expand and stiffen the wings after the adult emerges from the final nymphal stage. The leading edge of each wing has a node where other veins join the marginal vein, and the wing is able to flex at this point. In most large species of dragonflies, the wings of females are shorter and broader than those of males. The legs are rarely used for walking, but are used to catch and hold prey, for perching, and for climbing on plants. Each has two short basal joints, two long joints, and a three-jointed foot, armed with a pair of claws. The long leg joints bear rows of spines, and in males, one row of spines on each front leg is modified to form an "eyebrush", for cleaning the surface of the compound eye.
The abdomen is long and slender and consists of 10 segments. Three terminal appendages are on segment 10; a pair of superiors (claspers) and an inferior. The second and third segments are enlarged, and in males, on the underside of the second segment has a cleft, forming the secondary genitalia consisting of the lamina, hamule, genital lobe, and penis. There are remarkable variations in the presence and the form of the penis and the related structures, the flagellum, cornua, and genital lobes. Sperm is produced at the 9th segment, and is transferred to the secondary genitalia prior to mating. The male holds the female behind the head using a pair of claspers on the terminal segment. In females, the genital opening is on the underside of the eighth segment, and is covered by a simple flap (vulvar lamina) or an ovipositor, depending on species and the method of egg-laying. Dragonflies having simple flaps shed the eggs in water, mostly in flight. Dragonflies having ovipositors use them to puncture soft tissues of plants and place the eggs singly in each puncture they make.
Dragonfly nymphs vary in form with species, and are loosely classed into claspers, sprawlers, hiders, and burrowers. The first instar is known as a prolarva, a relatively inactive stage from which it quickly moults into the more active nymphal form. The general body plan is similar to that of an adult, but the nymph lacks wings and reproductive organs. The lower jaw has a huge, extensible labium, armed with hooks and spines, which is used for catching prey. This labium is folded under the body at rest and struck out at great speed by hydraulic pressure created by the abdominal muscles. Whereas damselfly nymphs have three feathery external gills, dragonfly nymphs have internal gills, located around the fourth and fifth abdominal segments. Water is pumped in and out of the abdomen through an opening at the tip. The naiads of some clubtails (Gomphidae) that burrow into the sediment, have a snorkel-like tube at the end of the abdomen enabling them to draw in clean water while they are buried in mud. Naiads can forcefully expel a jet of water to propel themselves with great rapidity.
Colouration
Many adult dragonflies have brilliant iridescent or metallic colours produced by structural colouration, making them conspicuous in flight. Their overall colouration is often a combination of yellow, red, brown, and black pigments, with structural colours. Blues are typically created by microstructures in the cuticle that reflect blue light. Greens often combine a structural blue with a yellow pigment. Freshly emerged adults, known as tenerals, are often pale-coloured and obtain their typical colours after a few days, some have their bodies covered with a pale blue, waxy powderiness called pruinosity; it wears off when scraped during mating, leaving darker areas.
Some dragonflies, such as the green darner, Anax junius, have a noniridescent blue that is produced structurally by scatter from arrays of tiny spheres in the endoplasmic reticulum of epidermal cells underneath the cuticle.
The wings of dragonflies are generally clear, apart from the dark veins and pterostigmata. In the chasers (Libellulidae), however, many genera have areas of colour on the wings: for example, groundlings (Brachythemis) have brown bands on all four wings, while some scarlets (Crocothemis) and dropwings (Trithemis) have bright orange patches at the wing bases. Some aeshnids such as the brown hawker (Aeshna grandis) have translucent, pale yellow wings.
Dragonfly nymphs are usually a well-camouflaged blend of dull brown, green, and grey.
Biology
Ecology
Dragonflies and damselflies are predatory both in the aquatic nymphal and adult stages. Nymphs feed on a range of freshwater invertebrates and larger ones can prey on tadpoles and small fish. Adults capture insect prey in the air, making use of their acute vision and highly controlled flight. The mating system of dragonflies is complex, and they are among the few insect groups that have a system of indirect sperm transfer along with sperm storage, delayed fertilization, and sperm competition.
Adult males vigorously defend territories near water; these areas provide suitable habitat for the nymphs to develop, and for females to lay their eggs. Swarms of feeding adults aggregate to prey on swarming prey such as emerging flying ants or termites.
Dragonflies as a group occupy a considerable variety of habitats, but many species, and some families, have their own specific environmental requirements. Some species prefer flowing waters, while others prefer standing water. For example, the Gomphidae (clubtails) live in running water, and the Libellulidae (skimmers) live in still water. Some species live in temporary water pools and are capable of tolerating changes in water level, desiccation, and the resulting variations in temperature, but some genera such as Sympetrum (darters) have eggs and nymphs that can resist drought and are stimulated to grow rapidly in warm, shallow pools, also often benefiting from the absence of predators there. Vegetation and its characteristics including submerged, floating, emergent, or waterside are also important. Adults may require emergent or waterside plants to use as perches; others may need specific submerged or floating plants on which to lay eggs. Requirements may be highly specific, as in Aeshna viridis (green hawker), which lives in swamps with the water-soldier, Stratiotes aloides. The chemistry of the water, including its trophic status (degree of enrichment with nutrients) and pH can also affect its use by dragonflies. Most species need moderate conditions, not too eutrophic, not too acidic; a few species such as Sympetrum danae (black darter) and Libellula quadrimaculata (four-spotted chaser) prefer acidic waters such as peat bogs, while others such as Libellula fulva (scarce chaser) need slow-moving, eutrophic waters with reeds or similar waterside plants.
Behaviour
Many dragonflies, particularly males, are territorial. Some defend a territory against others of their own species, some against other species of dragonfly and a few against insects in unrelated groups. A particular perch may give a dragonfly a good view over an insect-rich feeding ground; males of many species such as the Pachydiplax longipennis (blue dasher) jostle other dragonflies to maintain the right to alight there. Defending a breeding territory is common among male dragonflies, especially in species that congregate around ponds. The territory contains desirable features such as a sunlit stretch of shallow water, a special plant species, or the preferred substrate for egg-laying. The territory may be small or large, depending on its quality, the time of day, and the number of competitors, and may be held for a few minutes or several hours. Dragonflies including Tramea lacerata (black saddlebags) may notice landmarks that assist in defining the boundaries of the territory. Landmarks may reduce the costs of territory establishment, or might serve as a spatial reference. Some dragonflies signal ownership with striking colours on the face, abdomen, legs, or wings. The Plathemis lydia (common whitetail) dashes towards an intruder holding its white abdomen aloft like a flag. Other dragonflies engage in aerial dogfights or high-speed chases. A female must mate with the territory holder before laying her eggs. There is also conflict between the males and females. Females may sometimes be harassed by males to the extent that it affects their normal activities including foraging and in some dimorphic species females have evolved multiple forms with some forms appearing deceptively like males. In some species females have evolved behavioural responses such as feigning death to escape the attention of males. Similarly, selection of habitat by adult dragonflies is not random, and terrestrial habitat patches may be held for up to 3 months. A species tightly linked to its birth site utilises a foraging area that is several orders of magnitude larger than the birth site.
Reproduction
Mating in dragonflies is a complex, precisely choreographed process. First, the male has to attract a female to his territory, continually driving off rival males. When he is ready to mate, he transfers a packet of sperm from his primary genital opening on segment 9, near the end of his abdomen, to his secondary genitalia on segments 2–3, near the base of his abdomen. The male then grasps the female by the head with the claspers at the end of his abdomen; the structure of the claspers varies between species, and may help to prevent interspecific mating. The pair flies in tandem with the male in front, typically perching on a twig or plant stem. The female then curls her abdomen downwards and forwards under her body to pick up the sperm from the male's secondary genitalia, while the male uses his "tail" claspers to grip the female behind the head: this distinctive posture is called the "heart" or "wheel"; the pair may also be described as being "in cop".
Egg-laying (ovipositing) involves not only the female darting over floating or waterside vegetation to deposit eggs on a suitable substrate, but also the male hovering above her or continuing to clasp her and flying in tandem. The male attempts to prevent rivals from removing his sperm and inserting their own, something made possible by delayed fertilisation and driven by sexual selection. If successful, a rival male uses his penis to compress or scrape out the sperm inserted previously; this activity takes up much of the time that a copulating pair remains in the heart posture. Flying in tandem has the advantage that less effort is needed by the female for flight and more can be expended on egg-laying, and when the female submerges to deposit eggs, the male may help to pull her out of the water.
Egg-laying takes two different forms depending on the species. The female in some families has a sharp-edged ovipositor with which she slits open a stem or leaf of a plant on or near the water, so she can push her eggs inside. In other families such as clubtails (Gomphidae), cruisers (Macromiidae), emeralds (Corduliidae), and skimmers (Libellulidae), the female lays eggs by tapping the surface of the water repeatedly with her abdomen, by shaking the eggs out of her abdomen as she flies along, or by placing the eggs on vegetation. In a few species, the eggs are laid on emergent plants above the water, and development is delayed until these have withered and become immersed.
Life cycle
Dragonflies are hemimetabolous insects; they do not have a pupal stage and undergo an incomplete metamorphosis with a series of nymphal stages from which the adult emerges. Eggs laid inside plant tissues are usually shaped like grains of rice, while other eggs are the size of a pinhead, ellipsoidal, or nearly spherical. A clutch may have as many as 1500 eggs, and they take about a week to hatch into aquatic nymphs or naiads which moult between six and 15 times (depending on species) as they grow. Most of a dragonfly's life is spent as a nymph, beneath the water's surface. The nymph extends its hinged labium (a toothed mouthpart similar to a lower mandible, which is sometimes termed as a "mask" as it is normally folded and held before the face) that can extend forward and retract rapidly to capture prey such as mosquito larvae, tadpoles, and small fish. They breathe through gills in their rectum, and can rapidly propel themselves by suddenly expelling water through the anus. Some naiads, such as the later stages of Antipodophlebia asthenes, hunt on land.
The nymph stage of dragonflies lasts up to five years in large species, and between two months and three years in smaller species. When the naiad is ready to metamorphose into an adult, it stops feeding and makes its way to the surface, generally at night. It remains stationary with its head out of the water, while its respiration system adapts to breathing air, then climbs up a reed or other emergent plant, and moults (ecdysis). Anchoring itself firmly in a vertical position with its claws, its skin begins to split at a weak spot behind the head. The adult dragonfly crawls out of its nymph skin, the exuvia, arching backwards when all but the tip of its abdomen is free, to allow its exoskeleton to harden. Curling back upwards, it completes its emergence, swallowing air, which plumps out its body, and pumping haemolymph into its wings, which causes them to expand to their full extent.
Dragonflies in temperate areas can be categorized into two groups, an early group and a later one. In any one area, individuals of a particular "spring species" emerge within a few days of each other. The springtime darner (Basiaeschna janata), for example, is suddenly very common in the spring, but disappears a few weeks later and is not seen again until the following year. By contrast, a "summer species" emerges over a period of weeks or months, later in the year. They may be seen on the wing for several months, but this may represent a whole series of individuals, with new adults hatching out as earlier ones complete their lifespans.
Sex ratios
The sex ratio of male to female dragonflies varies both temporally and spatially. Adult dragonflies have a high male-biased ratio at breeding habitats. The male-bias ratio has contributed partially to the females using different habitats to avoid male harassment. As seen in Hine's emerald dragonfly (Somatochlora hineana), male populations use wetland habitats, while females use dry meadows and marginal breeding habitats, only migrating to the wetlands to lay their eggs or to find mating partners. Unwanted mating is energetically costly for females because it affects the amount of time that they are able to spend foraging.
Flight
Dragonflies are powerful and agile fliers, capable of migrating across the sea, moving in any direction, and changing direction suddenly. In flight, the adult dragonfly can propel itself in six directions: upward, downward, forward, backward, to left and to right. They have four different styles of flight: A number of flying modes are used that include counter-stroking, with forewings beating 180° out of phase with the hindwings, is used for hovering and slow flight. This style is efficient and generates a large amount of lift; phased-stroking, with the hindwings beating 90° ahead of the forewings, is used for fast flight. This style creates more thrust, but less lift than counter-stroking; synchronised-stroking, with forewings and hindwings beating together, is used when changing direction rapidly, as it maximises thrust; and gliding, with the wings held out, is used in three situations: free gliding, for a few seconds in between bursts of powered flight; gliding in the updraft at the crest of a hill, effectively hovering by falling at the same speed as the updraft; and in certain dragonflies such as darters, when "in cop" with a male, the female sometimes simply glides while the male pulls the pair along by beating his wings.
The wings are powered directly, unlike most families of insects, with the flight muscles attached to the wing bases. Dragonflies have a high power/weight ratio, and have been documented accelerating at 4 G linearly and 9 G in sharp turns while pursuing prey.
Dragonflies generate lift in at least four ways at different times, including classical lift like an aircraft wing; supercritical lift with the wing above the critical angle, generating high lift and using very short strokes to avoid stalling; and creating and shedding vortices. Some families appear to use special mechanisms, as for example the Libellulidae which take off rapidly, their wings beginning pointed far forward and twisted almost vertically. Dragonfly wings behave highly dynamically during flight, flexing and twisting during each beat. Among the variables are wing curvature, length and speed of stroke, angle of attack, forward/back position of wing, and phase relative to the other wings.
Flight speed
Old and unreliable claims are made that dragonflies such as the southern giant darner can fly up to 97 km/h (60 mph). However, the greatest reliable flight speed records are for other types of insects. In general, large dragonflies like the hawkers have a maximum speed of 36–54 km/h (22–34 mph) with average cruising speed of about 16 km/h (9.9 mph). Dragonflies can travel at 100 body-lengths per second in forward flight, and three lengths per second backwards.
Motion camouflage
n high-speed territorial battles between male Australian emperors (Hemianax papuensis), the fighting dragonflies adjust their flight paths to appear stationary to their rivals, minimizing the chance of being detected as they approach.[a] To achieve the effect, the attacking dragonfly flies towards his rival, choosing his path to remain on a line between the rival and the start of his attack path. The attacker thus looms larger as he closes on the rival, but does not otherwise appear to move. Researchers found that six of 15 encounters involved motion camouflage.
Temperature control
The flight muscles need to be kept at a suitable temperature for the dragonfly to be able to fly. Being cold-blooded, they can raise their temperature by basking in the sun. Early in the morning, they may choose to perch in a vertical position with the wings outstretched, while in the middle of the day, a horizontal stance may be chosen. Another method of warming up used by some larger dragonflies is wing-whirring, a rapid vibration of the wings that causes heat to be generated in the flight muscles. The green darner (Anax junius) is known for its long-distance migrations, and often resorts to wing-whirring before dawn to enable it to make an early start.
Becoming too hot is another hazard, and a sunny or shady position for perching can be selected according to the ambient temperature. Some species have dark patches on the wings which can provide shade for the body, and a few use the obelisk posture to avoid overheating. This behaviour involves doing a "handstand", perching with the body raised and the abdomen pointing towards the sun, thus minimising the amount of solar radiation received. On a hot day, dragonflies sometimes adjust their body temperature by skimming over a water surface and briefly touching it, often three times in quick succession. This may also help to avoid desiccation.
Feeding
Adult dragonflies hunt on the wing using their exceptionally acute eyesight and strong, agile flight. They are almost exclusively carnivorous, eating a wide variety of insects ranging from small midges and mosquitoes to butterflies, moths, damselflies, and smaller dragonflies. A large prey item is subdued by being bitten on the head and is carried by the legs to a perch. Here, the wings are discarded and the prey usually ingested head first. A dragonfly may consume as much as a fifth of its body weight in prey per day. Dragonflies are also some of the insect world's most efficient hunters, catching up to 95% of the prey they pursue.
The nymphs are voracious predators, eating most living things that are smaller than they are. Their staple diet is mostly bloodworms and other insect larvae, but they also feed on tadpoles and small fish. A few species, especially those that live in temporary waters, are likely to leave the water to feed. Nymphs of Cordulegaster bidentata sometimes hunt small arthropods on the ground at night, while some species in the Anax genus have even been observed leaping out of the water to attack and kill full-grown tree frogs.
Eyesight
Dragonfly vision is thought to be like slow motion for humans. Dragonflies see faster than we do; they see around 200 images per second. A dragonfly can see in 360 degrees, and nearly 80 percent of the insect's brain is dedicated to its sight.
Predators
Although dragonflies are swift and agile fliers, some predators are fast enough to catch them. These include falcons such as the American kestrel, the merlin, and the hobby; nighthawks, swifts, flycatchers and swallows also take some adults; some species of wasps, too, prey on dragonflies, using them to provision their nests, laying an egg on each captured insect. In the water, various species of ducks and herons eat dragonfly nymphs and they are also preyed on by newts, frogs, fish, and water spiders. Amur falcons, which migrate over the Indian Ocean at a period that coincides with the migration of the globe skimmer dragonfly, Pantala flavescens, may actually be feeding on them while on the wing.
Parasites
Dragonflies are affected by three major groups of parasites: water mites, gregarine protozoa, and trematode flatworms (flukes). Water mites, Hydracarina, can kill smaller dragonfly nymphs, and may also be seen on adults. Gregarines infect the gut and may cause blockage and secondary infection. Trematodes are parasites of vertebrates such as frogs, with complex life cycles often involving a period as a stage called a cercaria in a secondary host, a snail. Dragonfly nymphs may swallow cercariae, or these may tunnel through a nymph's body wall; they then enter the gut and form a cyst or metacercaria, which remains in the nymph for the whole of its development. If the nymph is eaten by a frog, the amphibian becomes infected by the adult or fluke stage of the trematode.
Dragonflies and humans
Conservation
Most odonatologists live in temperate areas and the dragonflies of North America and Europe have been the subject of much research. However, the majority of species live in tropical areas and have been little studied. With the destruction of rainforest habitats, many of these species are in danger of becoming extinct before they have even been named. The greatest cause of decline is forest clearance with the consequent drying up of streams and pools which become clogged with silt. The damming of rivers for hydroelectric schemes and the drainage of low-lying land has reduced suitable habitat, as has pollution and the introduction of alien species.
In 1997, the International Union for Conservation of Nature set up a status survey and conservation action plan for dragonflies. This proposes the establishment of protected areas around the world and the management of these areas to provide suitable habitat for dragonflies. Outside these areas, encouragement should be given to modify forestry, agricultural, and industrial practices to enhance conservation. At the same time, more research into dragonflies needs to be done, consideration should be given to pollution control and the public should be educated about the importance of biodiversity.
Habitat degradation has reduced dragonfly populations across the world, for example in Japan. Over 60% of Japan's wetlands were lost in the 20th century, so its dragonflies now depend largely on rice fields, ponds, and creeks. Dragonflies feed on pest insects in rice, acting as a natural pest control. Dragonflies are steadily declining in Africa, and represent a conservation priority.
The dragonfly's long lifespan and low population density makes it vulnerable to disturbance, such as from collisions with vehicles on roads built near wetlands. Species that fly low and slow may be most at risk.
Dragonflies are attracted to shiny surfaces that produce polarization which they can mistake for water, and they have been known to aggregate close to polished gravestones, solar panels, automobiles, and other such structures on which they attempt to lay eggs. These can have a local impact on dragonfly populations; methods of reducing the attractiveness of structures such as solar panels are under experimentation.
In culture
A blue-glazed faience dragonfly amulet was found by Flinders Petrie at Lahun, from the Late Middle Kingdom of ancient Egypt.
Many Native American tribes consider dragonflies to be medicine animals that had special powers. For example, the southwestern tribes, including the Pueblo, Hopi, and Zuni, associated dragonflies with transformation. They referred to dragonflies as "snake doctors" because they believed dragonflies followed snakes into the ground and healed them if they were injured. For the Navajo, dragonflies symbolize pure water. Often stylized in a double-barred cross design, dragonflies are a common motif in Zuni pottery, as well as Hopi rock art and Pueblo necklaces.: 20–26
As a seasonal symbol in Japan, the dragonflies are associated with season of autumn. In Japan, they are symbols of rebirth, courage, strength, and happiness. They are also depicted frequently in Japanese art and literature, especially haiku poetry. Japanese children catch large dragonflies as a game, using a hair with a small pebble tied to each end, which they throw into the air. The dragonfly mistakes the pebbles for prey, gets tangled in the hair, and is dragged to the ground by the weight.: 38
In Chinese culture, dragonflies symbolize both change and instability. They are also symbols in the Chinese practices of Feng Shui, where placements of dragonfly statues and artwork in parts of a home or office are believed to bring new insights and positive changes.
In both China and Japan, dragonflies have been used in traditional medicine. In Indonesia, adult dragonflies are caught on poles made sticky with birdlime, then fried in oil as a delicacy.
Images of dragonflies are common in Art Nouveau, especially in jewellery designs. They have also been used as a decorative motif on fabrics and home furnishings. Douglas, a British motorcycle manufacturer based in Bristol, named its innovatively designed postwar 350-cc flat-twin model the Dragonfly.
Among the classical names of Japan are Akitsukuni (秋津国), Akitsushima (秋津島), Toyo-akitsushima (豊秋津島). Akitsu is an old word for dragonfly, so one interpretation of Akitsushima is "Dragonfly Island". This is attributed to a legend in which Japan's mythical founder, Emperor Jimmu, was bitten by a mosquito, which was then eaten by a dragonfly.
In Europe, dragonflies have often been seen as sinister. Some English vernacular names, such as "horse-stinger", "devil's darning needle", and "ear cutter", link them with evil or injury. Swedish folklore holds that the devil uses dragonflies to weigh people's souls.: 25–27 The Norwegian name for dragonflies is Øyenstikker ("eye-poker"), and in Portugal, they are sometimes called tira-olhos ("eyes-snatcher"). They are often associated with snakes, as in the Welsh name gwas-y-neidr, "adder's servant". The Southern United States terms "snake doctor" and "snake feeder" refer to a folk belief that dragonflies catch insects for snakes or follow snakes around and stitch them back together if they are injured. Interestingly, the Hungarian name for dragonfly is szitakötő ("sieve-knitter").
The watercolourist Moses Harris (1731–1785), known for his The Aurelian or natural history of English insects (1766), published in 1780, the first scientific descriptions of several Odonata including the banded demoiselle, Calopteryx splendens. He was the first English artist to make illustrations of dragonflies accurate enough to be identified to species (Aeshna grandis at top left of plate illustrated), though his rough drawing of a nymph (at lower left) with the mask extended appears to be plagiarised.[b]
More recently, dragonfly watching has become popular in America as some birdwatchers seek new groups to observe.
In heraldry, like other winged insects, the dragonfly is typically depicted tergiant (with its back facing the viewer), with its head to chief.
In poetry and literature
Lafcadio Hearn wrote in his 1901 book A Japanese Miscellany that Japanese poets had created dragonfly haiku "almost as numerous as are the dragonflies themselves in the early autumn." The poet Matsuo Bashō (1644–1694) wrote haiku such as "Crimson pepper pod / add two pairs of wings, and look / darting dragonfly", relating the autumn season to the dragonfly. Hori Bakusui (1718–1783) similarly wrote "Dyed he is with the / Colour of autumnal days, / O red dragonfly."
The poet Lord Tennyson, described a dragonfly splitting its old skin and emerging shining metallic blue like "sapphire mail" in his 1842 poem "The Two Voices", with the lines "An inner impulse rent the veil / Of his old husk: from head to tail / Came out clear plates of sapphire mail."
The novelist H. E. Bates described the rapid, agile flight of dragonflies in his 1937 nonfiction book Down the River:
I saw, once, an endless procession, just over an area of water-lilies, of small sapphire dragonflies, a continuous play of blue gauze over the snowy flowers above the sun-glassy water. It was all confined, in true dragonfly fashion, to one small space. It was a continuous turning and returning, an endless darting, poising, striking and hovering, so swift that it was often lost in sunlight.
In technology
A dragonfly has been genetically modified with light-sensitive "steering neurons" in its nerve cord to create a cyborg-like "DragonflEye". The neurons contain genes like those in the eye to make them sensitive to light. Miniature sensors, a computer chip and a solar panel were fitted in a "backpack" over the insect's thorax in front of its wings. Light is sent down flexible light-pipes named optrodes[c] from the backpack into the nerve cord to give steering commands to the insect. The result is a "micro-aerial vehicle that's smaller, lighter and stealthier than anything else that's manmade".
[Credit: en.wikipedia.org/]
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
After the Falklands War, Argentina was not only left with a much reduced aerial strike force – budget restraints, inner and external political pressure as well as delivery boycotts plagued the country for years in its efforts to rejuvenate the air force. Recent years were troublesome, too. In early 2005 the top seventeen brigadiers of the Air Force, including the Chief of Staff, Brigadier General Carlos Rohde, were sacked by President Néstor Kirchner following a scandal involving drug trafficking through Ezeiza International Airport. The primary concerns of the Air Force as of 2010 were the establishment of a radar network for control of the country's airspace, the replacement of its older combat aircraft (Mirage III, Mirage V) and the incorporation of new technologies. The possibility of purchasing surplus French Air Force Mirage 2000C fighters, like the option chosen by the Brazilian Air Force, had been considered.
As of 2010, budgetary constraints continued, leading to the disbanding of the Boeing 707 transport squadron and maintenance problems for half of the C-130 Hercules fleet. In August 2010 a contract was signed for two Mi-17E helicopters, plus an option on a further three, to support Antarctic bases. All the time, though, the FAA had been seeking to replace its ageing force with a more capable and more serviceable modern aircraft. Argentina’s Super Étendard fighters, which had been used to launch Exocet missiles in the 1980s and still served, come from France. Its Mirage III/ V/ “Nesher” fighters were originally bought second-hand from Israel and Peru, but they had deteriorated badly. Its A-4P Skyhawk models were originally sold to Argentina by the USA but phased out in 1999, the more modern A-4AR “Fightinghawks” were rebuilt and modernized ex USMC A-4Ms. What was left of those deliveries made up the bulk of the Argentinian jet fleet.
The acquisition of Spanish Mirage F1Ms, IAI Kfir Block 60s from Israel and Saab Gripen E/Fs from Sweden was considered, but all of those deals stalled, for various reasons. The Mirage F1 deal was scrapped by the Spanish government after pressure of the UK to not assist in FAA modernization over tensions between the countries over the Falkland Islands. The UK also managed to successfully veto the sale of Gripen E/Fs, as 30% of the Gripen's parts were manufactured there. British diplomacy furthermore worked to delay Argentina’s proposed Super Étendard modernization. To make matters worse, despite steadily worsening relations with Britain under the Obama administration, the USA would neither sell Argentina any jet fighters, nor supply spare parts or engines.
This only left Argentina with the original source for its Nesher/Dagger/Finger fighters as a reliable and (moreover) affordable option: Israel. The (realistic) object of desire was the successor of the Nesher, the Kfir, which entered service with the IAF in 1975. The Kfir was, like the Nesher, a Mirage III/V derivative, but a major improvement. Substantial structural changes had been made and IAI replaced the original Atar 9C of French origin with a more powerful J79 turbojet, which had been used at the time by IDF F-4 Phantom IIs of American origin, too. The Kfir received during its career progressive modifications to its airframe (in the form of canards which improved the fighter’s handling considerably), radar, electronics, and weapons, and these upgrades continued even after the Kfirs were retired from Israeli service in the late 1990s, on behalf of export customers like Colombia, Ecuador, and Sri Lanka.
The Kfir’s retirement in Israeli service led to a great number of surplus airframes with considerable flying hours left, so that the Kfir C.10/Block 60, a dedicated export variant with many updates, was developed on their basis and offered to foreign customers. These machines carried modern multi-mode radars and electronics on par with contemporary F-16 Block 40/50s, giving them the ability to use beyond visual range aerial weapons, advanced short range AAMs, and a variety of precision strike weapons. However, it would take a brave Kfir pilot to face a Eurofighter Typhoon in single combat… even so, the late an updated Kfirs were capable and redoubtable fighters.
Their combat radius was a bit short, though, due to the thirsty and somewhat outdated J79 engine, but their aerial refueling capability compensated for this flaw and made them well-suited to intimidation and presence patrols. The Kfir’s relatively small price tag made it, despite the airframe’s overall age, very attractive for small nations with limited defense budgets – and consequently it attained Argentinian interest.
Argentinian negotiations went so far that Israel not only agreed to sell 18 revamped Kfir fighters from ex-IDF overstock, IAI also offered to adapt the airframes to a different engine, the French Atar 9K-50 afterburning turbojet, which were not part of the deal, though. This appeared like a backward roll, since the Kfir was originally constructed to replace the French Atar 9C with the American J79 in Israel’s Mirage III/V copy – but this move was the only way to provide Argentina with a suitable engine that was freely available on the Western world market without British or American bans and interventions.
The result of this deal became the so-called Kfir C.9, even though this was just an internal designation at IAI and never officially adopted in order to avoid political problems. In the course of 2013 and 2014, the engine-less Kfir airframes were delivered as knocked-down kits via ship to Argentina. At Argentina’s nationalized aircraft manufacturer Fábrica Argentina de Aviones SA (FAdeA) in Córdoba they were mated with the new engines, imported separately from France, and equipped with imported and domestic avionics. In Argentinian service and to the public, the aircraft became known as FAdeA “IA-96A” and was, keeping up the FAA’s tradition to christen its fleet of various Mirage III derivatives after domestic animals, called “Quique” (lesser grison).
The IA-96A/Kfir C.9 was specifically tailored to the Argentinian needs and restrictions. Despite wishes to buy Kfirs according to the more versatile and capable C.10 export standard with a modern Elta EL/M-2032 multi-mode radar, Argentina’s highly limited defense budget and other equipment constraints imposed by foreign suppliers and governments only allowed the procurement of what basically was a re-engined Kfir C.7 with some minor updates.
In contrast to the Kfir C.10, the older C.7 was only outfitted with the Elta EL/M-2021B radar. This was a multi-mode radar, too, which still offered air-to-air and air-to-surface capability, but it was less powerful than the C.10 standard and offered only a relatively short range of max. 46 mi/74 km.
Like the Israeli C.7, the C.9 had inflight refueling capability through a fixed but removable probe, and it featured a HOTAS-configured cockpit. Individual updates were a new, frameless wrap-around windshield for a better field of view, two 127×177mm MFDs in the cockpit, full HMD capability, a simple TAV38 laser rangefinder in a small fairing under nose, and improved avionics to deploy state-of-the-art guided weapons of Israeli and French origin (see below).
Outwardly, the C.9’s biggest difference to the original C.7 configuration – even though it was not very obvious – was the modified rear fuselage, which had to be changed in order to cover the longer and more slender Atar 9K-50 engine and its afterburner. In fact, the original IAI Nesher blueprints and toolings had been dusted off and used to produce these new parts.
Since the lighter Atar 9K-50 would not need the J79’s extra cooling and had a lower air mass flow, the Kfir’s characteristic auxiliary air intake at the fin’s root as well as several prominent air scoops along the fuselage disappeared, giving the aircraft a more streamlined look. As a positive side effect, this measure, together with the slimmer fuselage, improved aerodynamics, compensating for the slight reduction of overall thrust through the engine swap, and the longer fuselage made the aircraft directionally more stable, so that no fin fillet was necessary anymore. With the resulting short fin, the IA-96’s profile resembled that of the South African Atlas Cheetah E a lot, even though the latter were modernized Mirage IIIs and not converted IAI Kfirs. Compared with the Kfir C.7, top speed and service ceiling were slightly reduced, but the Atar 9K-50 consumed considerably less fuel, so that the unrefueled range of the short-legged Kfir with its thirsty J79 was markedly improved. The new engine was furthermore more responsive, so that overall performance and agility of the IA-96A remained on par with the Kfir or became even slightly better.
Beyond the aircraft order, Argentina also procured a modernized weapon arsenal from Israel for its new multi-role fighter generation. This included an undisclosed number of Derby medium range air-to-air missiles with an active-radar seeker, BVR capability and a range of 28 mi (45 km), Gabriel III anti-ship missiles with fire-and-forget capabilities and a range of more than 40 mi (60 km), as well as Griffin LGB guidance sets that could be added to various standard iron and cluster bombs. Furthermore, ten second-hand Thomson-CSF ATLIS II laser/electro-optical targeting pods were procured from France. Even though these pods lacked FLIR capabilities and were limited to being primarily a daylight/clear-weather system, they gave the Quique, in combination with the Griffin LGBs, full precision strike capability, esp. against ship targets – a clear political statement into the British direction.
The Quique fleet was supposed to replace all the older FAA types. With the roll-out of the first IA-96A in early 2015, all vintage FAA Mirages were officially decommissioned in November of the same year. Furthermore, all FAA’s A-4 Skyhawks were grounded as of January 2016, too (also for the lack of spares), even though a handful A-4ARs remained airworthy as a reserve and the rest in storage. Quique deliveries ended in September 2017 with the eighteenth machine, and all of them were allocated to FAA’s Grupo 5 de Caza at Villa Reynolds, 200 km (125 ml) in the South of Córdoba, where they had been assembled. However, since becoming operational, the aircraft were frequently deployed to other Argentinian air bases, including El Plumerillo Military Air Base in the Mendoza Province at the Chilean border and Rio Gallegos in Patagonia, in reach of the Malvinas/Falklands Islands.
If future budgets allow it, ten more IA-96A/Kfir C.9 might be ordered soon in order to replace the Argentinian Navy’s vintage Super Étendard fleet (which has been, since the decommissioning of ARA Veinticinco de Mayo in the late Eighties, land-based, anyway). The acquisition of four to six two-seaters, also modernized ex-IDF aircraft following the IA-96A pattern, with full attack capability and tentatively designated IA-96B, has been under consideration, too.
General characteristics:
Crew: 1
Length: 15.65 m (51 ft 4 in)
Wingspan: 8.22 m (27 ft 0 in)
Height: 4.55 m (14 ft 11 in)
Wing area: 34.8 m² (375 ft²)
Empty weight: 7,285 kg (16,061 lb)
Gross weight: 11,603 kg (25,580 lb)
Max takeoff weight: 16,200 kg (35,715 lb)
Powerplant:
1× SNECMA Atar 9K50C-11 afterburning turbojet engine,
49.2 kN (11,100 lbf) dry thrust and 70.6 kN (15,900 lbf) with afterburner
Performance:
Maximum speed: 2,350 km/h (1,460 mph, 1,270 kn) / Mach 2.2 at high altitude
1,390 km/h (860 mph; 750 kn) at sea level
Combat range: 1,300 km (810 mi, 700 nmi), clean, with internal fuel only
Ferry range: 2,600 km (1,600 mi, 1,400 nmi) w. three 1,300 l (340 US gal; 290 imp gal) drop tanks
Service ceiling: 17,000 m (56,000 ft)
Rate of climb: 233 m/s (45,900 ft/min)
Armament:
2× Rafael-built 30 mm (1.18 in) DEFA 553 cannon with 140 RPG
Nine external hardpoints for a maximum payload of 5,775 kg (12,732 lb) and a wide range of ordnance, including bombs such as the Mark 80 series, unguided air-to-ground rocket pods, Paveway and Griffin series of LGBs, guided air-to-ground missiles like the AGM-65 Maverick, and AIM-9 Sidewinders, Shafrir/Python/Derby-series AAMs
The kit and its assembly:
This what-if model was inspired by a short entry about the IAI Kfir I had found at Wikipedia: a proposed C.9 variant for Argentina, as a revamped and re-engined C.7, even though the entry lacked any further details and I was not able to dig anything about the C.9 up in the WWW. However, I tried to interpret this scarce basis and deduct a model from it, because the story was/is so good. Having recently read a lot about the Argentinian Mirage III/Nesher fleet and the Malvinas/Falklands conflict helped a lot, too. With many import limitations imposed by Great Britain and the USA as well as Argentina’s highly restricted budget, I eventually settled upon the idea of a rather simple, re-engined Kfir of C.7 standard, so that outwardly not much had to be changed – a better radar would have been desirable (Block 60 standard), but I’d assume that this would not have been possible with Argentina’s highly limited funds that already prevented updates to the existing and rather vintage (if not outdated) aircraft fleet.
The basis for the model is a Hasegawa Kfir, which I bought without box (and it turned it to lack the dashboard). The Hasegawa Kfir is a C.2 and the model is very similar to the Italeri kit (a C.7, but it is virtually identical), but it has a much better fit, goes together more easily and calls for considerably less PSR. As another bonus, the Hasegawa kit comes with a wider range of ordnance and also has the construction benefit of a connecting ventral “floor”, which makes the fuselage more stable and therefor suitable for my modification (see below).
The different engine for the C.9 variant was the biggest challenge – the Kfir’s rear fuselage is wider and shorter than the Mirage III’s with the Atar engine. These are just subtle differences at 1:72 scale, but not easy to realize: I needed a completely new rear fuselage! As a convenient solution, I dug out a PM Model Nesher (which is no Nesher at all, just a poor Mirage III at best) from the donor bank and let the saw sing. This kit is horrible in many ways (really, stay away!), but it’s tail section and the jet nozzle, pimped with an afterburner interior, were acceptable as conversion fodder.
Blending the (crappy!) Mirage III parts into the crisp Hasegawa Kfir took some serious PSR, though, including the need to fill 3mm wide gaps along the delta wing roots and bridging disparate fuselage shapes and diameters at the implant’s intersections. The Kfir’s fin was re-transplanted and lost its characteristic auxiliary air intake for the J79 engine, so that the profile became more Mirage III/V-esque. Due to the longer afterburner section, the brake parachute fairing had to be extended, too. The longer (just 3-4mm), more slender tail section and the cleaner fin change the Kfir’s look markedly – for the better, IMHO, and the model could also depict an Atlas Cheetah E!
Further minor mods include an in-flight refueling receptacle, scratched from wire and white glue for the tip, the modified windshield (the OOB part was simply sanded smooth and polished back again to transparency) and the ordnance; the Gabriel ASMs were created on the basis of a photograph, and they once were AIM-54 Phoenix AAMs from a Matchbox F-14, modified with new wings, a blunted tip and a pitot made from thin wire. Their pylons were once parts of F-14 wing root pylons from an Italeri F-14, with launch rails made from styrene profiles. The Derby AAMs are heavily modified Matchbox Sidewinders with an extended, pointed tip, mounted onto the OOB pylons. The ventral drop tank comes from the Hasegawa kit.
Painting and markings:
This was quite a challenge, because I wanted to apply something modern and plausible, yet avoid standard paint schemes. In fact, a realistic Argentinian Kfir C.9 from the late 2010s would probably have been painted in an overall pale grey or in two pale shades of grey with little contrast (as applied to the very late Mirage IIIs and the A-4ARs), with subdued low-viz markings and no roundels at all. I found this boring, but I also did not want to apply a retro SEA scheme, as used on the Nesher/Dagger/Finger during the Falklands War.
After turning over many options in my mind, I settled upon a two-tone grey livery, somewhat of a compromise between air superiority and attack operations, esp. over open water. The pattern was inspired by the livery of late Turkish RF-4Es, which were supposed to be painted in FS 36118 over an FS 36270 (or 36375, sources are contradictive and pictures inconclusive) overall base with a rising waterline towards the rear and the light undersides color spilling over to the wings’ upper surfaces. This scheme is simple, but looks pretty interesting, breaks up the aircraft’s outlines effectively, and it could be easily adapted to the delta-wing Kfir.
However, I changed two details in favor of an IMHO better camouflage effect at height. Firstly, the fin’s upper section was painted in the light grey (it’s all dark grey on the Turkish Phantoms), what IMHO reduces the strong contrast against the sky and the horizon. For a similar reason I secondly raised the underside’s light grey waterline towards the nose, so that the upper dark grey area became an integral anti-glare panel in front of the windscreen and the aircraft show less contrast from a frontal point of view. On the Turkish F-4s, the dark grey slopes downwards for a wrap-around area directly behind the radome.
I used Humbrol 125 (FS 36118, a pretty bluish interpretation of “Gunship Gray”) and 126 (FS 36270, US Medium Grey) as basic colors. The Gunship Gray was, after a light washing with black ink, post-shaded with FS 35164 (Humbrol 144), giving the dark grey an even more bluish hue, while the Medium Grey was treated with FS 36320.
The cockpit was painted in Camouflage Grey (Humbrol 156), the landing gear with the wells as well as the air intake ducts in standard gloss white (Humbrol 22). The Derby AAMs became light grey (Humbrol 127) with a beige radome tip, while the Gabriel ASM received a multi-color livery in black, white and light grey.
Decals and markings are purely fictional - as mentioned above, I’d assume that a real-world FAA Kfir would these days only carry minimal national markings in the form of a simple fin flash, no roundels at all and just a tiny tactical code (if at all), and everything toned-down or black. However, I wanted the model to be identified more easily, so I added some more markings, including small but full-color FAA roundels on fuselage and wings as well as full-color fin flashes, all procured from an Airfix Pucará sheet. The “Fuerza Aérea Argentina” inscription on the nose came from a Colorado Decals Mirage III/V sheet. The tactical code was taken from an Airfix sheet for an Argentinian Mirage III – it’s actually “I-016”, just turned upside down for a (much) higher/later number. 😉
After shading effects, the model only received little weathering in the form of graphite around the jet nozzle and the guns under the air intakes. Then it was sealed with matt acrylic varnish.
In the end a rather subtle conversion – even though the different rear fuselage was a major PSR stunt! The most obvious modification is probably the intake-less fin? The transplanted, different rear fuselage is hard to recognize and only true Mirage/Kfir experts might tell the changes – or the model is directly mistaken for a Mirage V fighter bomber? And even though the model carries a grey-in-grey scheme which I originally wanted to avoid, I think that the bluish touch and the integral, wavy pattern still look interesting?
However, I also like the story behind this whif that has real life roots – the real Kfir C.9 just failed to materialize because of lack of funding, and its introduction would certainly have had severe consequences for the unstable Argentinian-British relationships, since this capable aircraft would certainly pose a serious threat to the shaky peace in the Southern Atlantic and have stirred up the more or less dormant Falklands/Malvinas conflict again.
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.
Notting Hill Caribbean Carnival London Mas Players Parade Participant Monday August 29 2022 Beautiful Stunning Jamaican Girl in Cut-off Denim Blue Jeans Whining provocative dance that involves a woman gyrating and grinding
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
A Tallahassee, Florida- based group, advocating an end to U.S. involvement in the war in Iraq and returning all troops home hung more than 4,000 white origami cranes in the sculpture garden at the entrance to Railroad Square in downtown Tallahassee.
The debut of the installation was Friday, December 7th, 2007. It will remain up until the end of the year, weather permitting.
The “Cranes,” a universal sign of peace, represent the number of coalition soldiers who have died in the Iraq war. The installation also honors Julian McMackin Woodall, 21, a local Marine killed in Iraq in May, who loved to make the cranes as a child. Julian's mother Meredith McMackin has been involved with the sponsoring group since long before his death. He would have turned 22 Tues., Dec. 4, 2007, the day the exhibit started going up.
The installation is sponsored by the local group “Tallahasseeans Who Believe It’s Time to Come Home.” The group was responsible for the luminary memorial at Lake Ella in March that commemorated the 4th anniversary of the war. Since the luminary event, almost another 700 troops have died.
Su Ecenia , the group's founder, said, “Hundreds of people in our community participated in folding, stringing and hanging these cranes. We are unified in our desire to see this war end and for the safe return home of our troops.” '
The 4,000 cranes were made by hundreds of local people including members of spiritual communities, schools, a Girl Scout troop and private citizens.
If you'd like to get info so as to do this project in your community, contact me and I'll tell you how to get in touch with the organizer here. Su is a homemaker and former nurse who after she saw a documentary showing injured Iraqi children decided to do what she could to draw a quick end to the war. We'd love for this idea to be adopted by other cities.
The next project that Tallahasseeans Who Believe It's Time to Come Home did was March, 19, 2008. It as a vigil that protested the war by circling Lake Ella with people who served as human luminaries by holding candles.
雛祭り (Kyoto)
Hina Matsuri (Girl's Day Festival) in Kyoto. Most celebrations involve setting up a five tiered shelf of dolls for young girls, the Shimogamo shrine however still practices nagashi bina. The custom of floating dolls down the river to get rid of harmful spirits origniated in China and spread to Japan centuries ago, but is not practiced as much anymore. At Shimogamo a woman and man are dressed in imperial costumes from the Heian period, and innitate the ceremony by floating a few of the first dolls down the river. Afterwards the masses descend to float their own dolls in straw baskets. Anyway, the festival is really fun if you can beat the crowds there.
Between 2014 and 2018 Australia will commemorate the Anzac Centenary, marking 100 years since our nation's involvement in the First World War.
These photos are almost 10 years old to the day (7 days away) as it will soon be Anzac day 2015.
I have attended quite a few dawn services but none quite as sobering as being a foreigner, walking fields where Australian soldiers died during wartime, and were burried.
I thought it was time to post my photos from Kranji.
I got up at 4 am along with many other of my Australian Microsoft and MVP friends. Bleary eyed, fighting the fog, we found our way to the bus.
We were in a daze as we were bumped about making our way to the killing fields of Kranji.
Kranji is a suburb in northwestern Singapore, located about 22 kilometres (14 mi) from the city centre.
The Kranji War Memorial in Singapore honours the men and women from the Commonwealth who died in the line of duty during World War II.
A very appropropriate and solem place for Anzac Day 2005.
Back then I was not interested in Photography and my cameras were not that great. Still, that is not the reason for the photos. I did want to try for a perfect shot. I just wanted memories.
It was humid, dark and very quiet as the service started. Bagpipes from overhead and marching in front.
Deep within this quiet neighbourhood, lies the Kranji War Memorial, a hillside cemetery that is quite beautiful in its serenity once you get there.
Every year, a memorial service is held to pay tribute to those who gave their lives.
The memorial honours the men and women from Britain, Australia, Canada, Sri Lanka, India, Malaya, the Netherlands and New Zealand who died in the line of duty during World War II.
Here, we see more than 4,400 white gravestones lined up in rows on the cemetery’s gentle slope. Many graves hold unknown soldiers.
The Chinese Memorial in plot 44 marks a mass grave for 69 Chinese servicemen who were killed by the Japanese when Singapore fell in February 1942.
Next to the Kranji War Memorial are the Kranji Military Cemetery and the Singapore State Cemetery, where Singapore’s first and second presidents are buried.
As we walked the short flight of steps to the hilltop terrace, we saw four memorials.
The largest is the Singapore Memorial, with its huge star-topped central pylon that rises to a height of 24 metres.
This memorial bears the names of more than 24,346 Allied soldiers and airmen killed in Southeast Asia who have no known grave. You can find the register, kept by the Commonwealth War Graves Commission, at the entrance.
Every year, on the Sunday closest to Remembrance Day on 11 November, a memorial service is held to pay tribute to those who gave their lives.
Next to the Kranji War Memorial is the Kranji Military Cemetery, a non-world war site of more than 1,400 burials, as well as the Singapore State Cemetery, where the country’s first and second presidents, Encik Yusof Ishak and Dr Benjamin Henry
Sheares, are buried.
The Battle of Kranji was the second stage of the Empire of Japan's plan for the invasion of Singapore during the Second World War. On 9 February 1942 the Imperial Japanese Army assaulted the north-western front of the British colony of
Singapore. Their primary objective was to secure a second beachhead after their successful assault at Sarimbun Beach on 8 February, in order to breach the Jurong-Kranji defence line as part of their southward thrust towards the heart of
Singapore City. Defending the shoreline between the Kranji River and the Johor–Singapore Causeway was the Australian 27th Brigade, led by Brigadier Duncan Maxwell, and one irregular company.
On 10 February the Japanese forces suffered their heaviest losses while moving up the Kranji River, which caused them to panic and nearly aborted the operation. However, a series of miscommunications and withdrawals by Allied forces in the
ensuing battles allowed the Japanese to swiftly gain strategic footholds, which eventually led to the fall of Singapore on 15 February 1942.
The terrain around Kranji was primarily mangrove swamps and tropical forest intersected by streams and inlets. The shoreline between the Kranji River and the Johor–Singapore Causeway, nearly four kilometers long, was defended by the
Australian 27th Brigade, led by Australian Brigadier Duncan Maxwell. The 27th Infantry Brigade consisted of three battalions—the 2/30th, 2/29th, and 2/26th and was supported by the 2/10th Field Artillery Regiment, as well as one platoon from the
2/4th Machine Gun Battalion.
They were supported by one company from Dalforce (named after its commander, Lieutenant-Colonel John Dalley of the Malayan Police Special Branch), a local Chinese militia consisting of Communists, Nationalist supporters, and other
volunteers. As the war intensified, the Dalforce volunteers were given only three to four days of training and sent to the war front with elementary weapons. Lacking uniforms, the volunteers improvised by wearing a red triangle on their blue shirts to
avoid being mistaken for Japanese by the Australians.
The Allied forces at Kranji were to be assaulted by the Imperial Guards Division led by Major General Takuma Nishimura. 400 Imperial Guards had landed and taken Pulau Ubin, an island in the north-east of Singapore, in a feint attack on 7
February, where they encountered minimal resistance.
On 9 February, two divisions of the Japanese Twenty Fifth Army, led by Lieutenant General Tomoyuki Yamashita, landed on the northwestern coast of Singapore, in the Sarimbun area. Yamashita's headquarters (HQ) was in the Sultan of Johor's
palace on Istana Bukit Serene, which offered him and his officers a bird's eye view of virtually every key target in the northern sector of Singapore Island, only 1.6 kilometres (one mile) across the Straits of Johor. Sultan Ibrahim's palace was not fired
upon by the British because any damage caused would have extensive repercussions for British-Johor ties.
The primary objective of the Japanese at Kranji was to capture Kranji village; this would let them repair the demolished Causeway in order to facilitate easy flow of reinforcements and supplies down the roads of Woodlands and Mandai, and to the
rest of the island for their vanguard force. Once the leading wave of Japanese was safely ashore, the massed Japanese artillery switched their fire to the defensive positions at Kranji. Telegraph and telephone communications were destroyed in the
bombardment and communications between the front line and command HQ were broken. At 8:30pm that night, the men of the Imperial Guards Division began the crossing from Johor in special armoured landing-crafts, collapsible boats and by
swimming.
In the early hours of 10 February, Japanese forces suffered their heaviest losses during the Battle of Singapore. While moving up the Kranji River, advance landing parties from the 4th Regiment of the Imperial Guard Division found themselves
under heavy fire from Australian machine gunners and mortar teams. They also found themselves surrounded by oil slicks, which had been created by Allied personnel emptying the nearby Woodlands oil depot, to prevent its capture. A scenario
feared by Yamashita came to pass by accident; the oil was set alight by Allied small arms fire, causing many Japanese soldiers to be burnt alive. Sustaining heavy losses, Nishimura requested permission to abandon the operation. However,
Yamashita denied the request.
Maxwell, who had limited communications with his division headquarters, was concerned that his force would be cut off by fierce and chaotic fighting at Sarimbun and Jurong to the south west, involving the Australian 22nd Brigade. Maxwell's
force consequently withdrew from the seafront. This allowed the Japanese to land in increasing strength and take control of Kranji village. They also captured Woodlands, and began repairing the causeway, without encountering any Allied attacks.
Japanese light tanks, which had good buoyancy, were towed across the straits to Lim Chu Kang Road where they joined the battle at dusk. With reinforced troops and tanks advancing down Choa Chua Kang Road, the Australian troops were no
match for the tanks and fled to the hills of Bukit Panjang. The 5th Division (Imperial Japanese Army) captured Bukit Timah village by the evening of 11 February.
Lieutenant-General Arthur Percival, General Officer Commanding of HQ Malaya Command, drew a defence perimeter covering Kallang aerodrome, MacRitchie and Peirce reservoirs and the Bukit Timah supply depot area to ensure the integrity
of the city's defence. One line of the north-western defence perimeter was the Jurong-Kranji defence line, a narrow ridge connecting the sources of the Jurong and the Kranji Rivers, forming a natural defence line protecting the north-west
approach to the Singapore City. (Its counterpart was the Serangoon Line, which was sited between Kallang Airfield and Paya Lebar village on the eastern part of Singapore). The troops were to defend this Line strongly against the invading
Japanese force. The Line was defended by the 44th Indian Infantry Brigade which covered milestone 12 on Jurong Road, the 12th Indian Infantry Brigade and the reinforced 22nd Australian Brigade which guarded the northern part of the Line and
maintained contact with the 44th Indian Brigade. The 15th Indian Infantry Brigade was re-positioned near Bukit Timah Road to guard the island's vital food and petrol supplies. A secret instruction to protect this area was issued to Percival's
generals.
Percival's secret orders to withdraw to the last defence line around the city only if necessary were misunderstood by Maxwell, who took this to be an order for an immediate withdrawal to the Line. As a result, the 44th Indian Infantry Brigade, the 12th
Indian Infantry Brigade and the 22nd Australian Brigade, reinforced after their withdrawal from Sarimbun beach in the north-west, abandoned the Line on 10 February. Fearing that the large supplies depot would fall into Japanese hands should
they make a rush for Bukit Timah too soon, General Archibald Wavell, Allied commander-in-chief of the Far East sent an urgent message to Percival:
It is certain that our troops in Singapore Island heavily outnumber any Japanese who have crossed the Straits. We must destroy them. Our whole fighting reputation is at stake and the honour of the British Empire. The Americans have held out in the
Bataan Peninsula against a far heavier odds, the Russians are turning back the picked strength of the Germans. The Chinese with an almost lack of modern equipment have held the Japanese for four and a half years. It will be disgraceful if we
yield our boasted fortress of Singapore to inferior enemy forces.
By 11 February, the Jurong-Kranji Defence Line was left undefended which allowed the Japanese forces to sweep through the Line to attack Bukit Timah. On the same day, Percival finally moved his Combined Operations Headquarters in Sime
Road to the underground bunker, The Battle Box at Fort Canning.
Despite their fighting spirit, the Dalforce fighters suffered from poor training and the lack of equipment. A further blow was delivered when the 27th Australian Brigade withdrew southwards. As a result, the Japanese established a stronghold in the
northern Woodlands area and secured a relatively easy passage into the island. General Wavell left Singapore for Java early on 11 February and sent a cable to British Prime Minister Winston Churchill in London on his assessment of the war front
in Singapore:
Battle for Singapore is not going well... I ordered Percival to stage counter-attack with all troops possible... Morale of some troops is not good and none is as high as I should like to see... The chief troubles are lack of sufficient training in some
reinforcing troops and an inferior complex which bold Japanese tactics and their command of the air have caused. Everything possible is being done to produce more offensive spirit and optimistic outlook. But I cannot pretend that these efforts
have been entirely successful up to date. I have given the most categorical orders that there is to be no thought of surrender and that all troops are to continue fighting to the end...
By 12 February, the Imperial Guards had captured the reservoirs and Nee Soon village. The defending troops, by this time, were badly shaken. Thousands of exhausted and frightened stragglers left the fighting to seek shelter in large buildings. On
the same night, British forces in the east of the island had begun to withdraw towards the city.
On 13 February, the Japanese 5th Division continued its advance and reached Adam and Farrer Roads to capture the Sime Road Camp. Yamashita moved his HQ forward to the bomb-damaged Ford Factory in Bukit Timah. Heading southwards,
the Japanese 18th Division advanced into Pasir Panjang, where the last major battle of Singapore would be fought with the Malay Regiments at Bukit Chandu.
In 1995, the former battle sites of Kranji and the defence line were gazetted by the National Heritage Board as two of the eleven World War II sites of Singapore.
2005
Panasonic
IMGA0027
Another tradition involving archery relates that Robin and Little John went to visit Abbot Richard at the Whitby Abbey at Whitby Lathes. Each shot an arrow from the top of the monastery to show his skill. Robin shot across the north side and Little John the south. The distance was a mile and a half. The Abbot had two stone pillars set up on the spots, and the fields on the north and south sides were called Robin Hood's Close and Little John's Close, respectively, which are actually found in deeds from the 1700s.
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Ode to Little John:
When Robin Hood was about twenty years old,
With a hey down down and a down
He happend to meet Little John,
A jolly brisk blade, right fit for the trade,
For he was a lusty young man.
Though he was calld Little, his limbs they were large,
And his stature was seven foot high;
Where-ever he came, they quak'd at his name,
For soon he would make them to fly.
How they came acquainted, I'll tell you in brief,
If you will but listen a while;
For this very jest, amongst all the rest,
I think it may cause you to smile.
Bold Robin Hood said to his jolly bowmen,
Pray tarry you here in this grove;
And see that you all observe well my call,
While thorough the forest I rove.
They happend to meet on a long narrow bridge,
And neither of them would give way;
Quoth bold Robin Hood, and sturdily stood,
"I'll show you right Nottingham play."
He was, I must tell you, but seven foot high,
And, may be, an ell in the waste;
A pretty sweet lad; much feasting they had;
Bold Robin the christning grac'd.
This infant was called John Little,' quoth he,
"Which name shall be changed anon;
The words we'll transpose, so where-ever he goes,
His name shall be called Little John."
Thou shalt be an archer as well as the best,
And range in the greenwood with us;
Where we'll not want gold nor silver, behold,
While bishops have ought in their purse.
"We live here like squires, or lords of reknown,
Without ere a foot of free land;
We feast on good cheer, with wine, ale, and beer,
And evry thing at our command.'"
Then music and dancing did finish the day;
At length, when the sun waxed low,
Then all the whole train the grove did refrain,
And unto their caves they did go.
And so ever after, as long as he lived,
Althogh he was proper and tall,
Yet nevertheless, the truth to express,
Still Little John they did him call.
View this classic scene: www.youtube.com/watch?v=dXcrEFfLYgo
Student Involvement Fair at Crossley Softball Field, 19 September, 2020. Photography by Glenn Minshall.
The tour inside the castle involves following a twisting route around all floors and navigating steep stairwells. Shoes are removed at the entrance and carried in plastic bags until the exit is reached. This brings out the best in Japanese people management.
Matsumoto castle dates from the C16 and is listed as a National Treasure of Japan. The keep (tenshukaku), which was completed in the late sixteenth century, maintains its original wooden interiors and external stonework. During the Edo period the stronghold was also known as Crow Castle (烏城 Karasu-jo) because its black walls and roofs looked like spreading wings.
There was something for everyone at the Student Involvement Fair on Friday, 14 September, 2018, and judging by the signups there will be plenty of student led activities happening on campus in the weeks and months ahead. Photography by Glenn Minshall.
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.
The Los Angeles Fire Department responded in automatic aid on August 27, 2011 to assist the Los Angeles County Fire Department and Los Angeles County Lifeguards in handling a collision involving a Los Angeles County Sheriff's Department vehicle. © Photo by John Conkle
Between 2014 and 2018 Australia will commemorate the Anzac Centenary, marking 100 years since our nation's involvement in the First World War.
These photos are almost 10 years old to the day (7 days away) as it will soon be Anzac day 2015.
I have attended quite a few dawn services but none quite as sobering as being a foreigner, walking fields where Australian soldiers died during wartime, and were burried.
I thought it was time to post my photos from Kranji.
I got up at 4 am along with many other of my Australian Microsoft and MVP friends. Bleary eyed, fighting the fog, we found our way to the bus.
We were in a daze as we were bumped about making our way to the killing fields of Kranji.
Kranji is a suburb in northwestern Singapore, located about 22 kilometres (14 mi) from the city centre.
The Kranji War Memorial in Singapore honours the men and women from the Commonwealth who died in the line of duty during World War II.
A very appropropriate and solem place for Anzac Day 2005.
Back then I was not interested in Photography and my cameras were not that great. Still, that is not the reason for the photos. I did want to try for a perfect shot. I just wanted memories.
It was humid, dark and very quiet as the service started. Bagpipes from overhead and marching in front.
Deep within this quiet neighbourhood, lies the Kranji War Memorial, a hillside cemetery that is quite beautiful in its serenity once you get there.
Every year, a memorial service is held to pay tribute to those who gave their lives.
The memorial honours the men and women from Britain, Australia, Canada, Sri Lanka, India, Malaya, the Netherlands and New Zealand who died in the line of duty during World War II.
Here, we see more than 4,400 white gravestones lined up in rows on the cemetery’s gentle slope. Many graves hold unknown soldiers.
The Chinese Memorial in plot 44 marks a mass grave for 69 Chinese servicemen who were killed by the Japanese when Singapore fell in February 1942.
Next to the Kranji War Memorial are the Kranji Military Cemetery and the Singapore State Cemetery, where Singapore’s first and second presidents are buried.
As we walked the short flight of steps to the hilltop terrace, we saw four memorials.
The largest is the Singapore Memorial, with its huge star-topped central pylon that rises to a height of 24 metres.
This memorial bears the names of more than 24,346 Allied soldiers and airmen killed in Southeast Asia who have no known grave. You can find the register, kept by the Commonwealth War Graves Commission, at the entrance.
Every year, on the Sunday closest to Remembrance Day on 11 November, a memorial service is held to pay tribute to those who gave their lives.
Next to the Kranji War Memorial is the Kranji Military Cemetery, a non-world war site of more than 1,400 burials, as well as the Singapore State Cemetery, where the country’s first and second presidents, Encik Yusof Ishak and Dr Benjamin Henry
Sheares, are buried.
The Battle of Kranji was the second stage of the Empire of Japan's plan for the invasion of Singapore during the Second World War. On 9 February 1942 the Imperial Japanese Army assaulted the north-western front of the British colony of
Singapore. Their primary objective was to secure a second beachhead after their successful assault at Sarimbun Beach on 8 February, in order to breach the Jurong-Kranji defence line as part of their southward thrust towards the heart of
Singapore City. Defending the shoreline between the Kranji River and the Johor–Singapore Causeway was the Australian 27th Brigade, led by Brigadier Duncan Maxwell, and one irregular company.
On 10 February the Japanese forces suffered their heaviest losses while moving up the Kranji River, which caused them to panic and nearly aborted the operation. However, a series of miscommunications and withdrawals by Allied forces in the
ensuing battles allowed the Japanese to swiftly gain strategic footholds, which eventually led to the fall of Singapore on 15 February 1942.
The terrain around Kranji was primarily mangrove swamps and tropical forest intersected by streams and inlets. The shoreline between the Kranji River and the Johor–Singapore Causeway, nearly four kilometers long, was defended by the
Australian 27th Brigade, led by Australian Brigadier Duncan Maxwell. The 27th Infantry Brigade consisted of three battalions—the 2/30th, 2/29th, and 2/26th and was supported by the 2/10th Field Artillery Regiment, as well as one platoon from the
2/4th Machine Gun Battalion.
They were supported by one company from Dalforce (named after its commander, Lieutenant-Colonel John Dalley of the Malayan Police Special Branch), a local Chinese militia consisting of Communists, Nationalist supporters, and other
volunteers. As the war intensified, the Dalforce volunteers were given only three to four days of training and sent to the war front with elementary weapons. Lacking uniforms, the volunteers improvised by wearing a red triangle on their blue shirts to
avoid being mistaken for Japanese by the Australians.
The Allied forces at Kranji were to be assaulted by the Imperial Guards Division led by Major General Takuma Nishimura. 400 Imperial Guards had landed and taken Pulau Ubin, an island in the north-east of Singapore, in a feint attack on 7
February, where they encountered minimal resistance.
On 9 February, two divisions of the Japanese Twenty Fifth Army, led by Lieutenant General Tomoyuki Yamashita, landed on the northwestern coast of Singapore, in the Sarimbun area. Yamashita's headquarters (HQ) was in the Sultan of Johor's
palace on Istana Bukit Serene, which offered him and his officers a bird's eye view of virtually every key target in the northern sector of Singapore Island, only 1.6 kilometres (one mile) across the Straits of Johor. Sultan Ibrahim's palace was not fired
upon by the British because any damage caused would have extensive repercussions for British-Johor ties.
The primary objective of the Japanese at Kranji was to capture Kranji village; this would let them repair the demolished Causeway in order to facilitate easy flow of reinforcements and supplies down the roads of Woodlands and Mandai, and to the
rest of the island for their vanguard force. Once the leading wave of Japanese was safely ashore, the massed Japanese artillery switched their fire to the defensive positions at Kranji. Telegraph and telephone communications were destroyed in the
bombardment and communications between the front line and command HQ were broken. At 8:30pm that night, the men of the Imperial Guards Division began the crossing from Johor in special armoured landing-crafts, collapsible boats and by
swimming.
In the early hours of 10 February, Japanese forces suffered their heaviest losses during the Battle of Singapore. While moving up the Kranji River, advance landing parties from the 4th Regiment of the Imperial Guard Division found themselves
under heavy fire from Australian machine gunners and mortar teams. They also found themselves surrounded by oil slicks, which had been created by Allied personnel emptying the nearby Woodlands oil depot, to prevent its capture. A scenario
feared by Yamashita came to pass by accident; the oil was set alight by Allied small arms fire, causing many Japanese soldiers to be burnt alive. Sustaining heavy losses, Nishimura requested permission to abandon the operation. However,
Yamashita denied the request.
Maxwell, who had limited communications with his division headquarters, was concerned that his force would be cut off by fierce and chaotic fighting at Sarimbun and Jurong to the south west, involving the Australian 22nd Brigade. Maxwell's
force consequently withdrew from the seafront. This allowed the Japanese to land in increasing strength and take control of Kranji village. They also captured Woodlands, and began repairing the causeway, without encountering any Allied attacks.
Japanese light tanks, which had good buoyancy, were towed across the straits to Lim Chu Kang Road where they joined the battle at dusk. With reinforced troops and tanks advancing down Choa Chua Kang Road, the Australian troops were no
match for the tanks and fled to the hills of Bukit Panjang. The 5th Division (Imperial Japanese Army) captured Bukit Timah village by the evening of 11 February.
Lieutenant-General Arthur Percival, General Officer Commanding of HQ Malaya Command, drew a defence perimeter covering Kallang aerodrome, MacRitchie and Peirce reservoirs and the Bukit Timah supply depot area to ensure the integrity
of the city's defence. One line of the north-western defence perimeter was the Jurong-Kranji defence line, a narrow ridge connecting the sources of the Jurong and the Kranji Rivers, forming a natural defence line protecting the north-west
approach to the Singapore City. (Its counterpart was the Serangoon Line, which was sited between Kallang Airfield and Paya Lebar village on the eastern part of Singapore). The troops were to defend this Line strongly against the invading
Japanese force. The Line was defended by the 44th Indian Infantry Brigade which covered milestone 12 on Jurong Road, the 12th Indian Infantry Brigade and the reinforced 22nd Australian Brigade which guarded the northern part of the Line and
maintained contact with the 44th Indian Brigade. The 15th Indian Infantry Brigade was re-positioned near Bukit Timah Road to guard the island's vital food and petrol supplies. A secret instruction to protect this area was issued to Percival's
generals.
Percival's secret orders to withdraw to the last defence line around the city only if necessary were misunderstood by Maxwell, who took this to be an order for an immediate withdrawal to the Line. As a result, the 44th Indian Infantry Brigade, the 12th
Indian Infantry Brigade and the 22nd Australian Brigade, reinforced after their withdrawal from Sarimbun beach in the north-west, abandoned the Line on 10 February. Fearing that the large supplies depot would fall into Japanese hands should
they make a rush for Bukit Timah too soon, General Archibald Wavell, Allied commander-in-chief of the Far East sent an urgent message to Percival:
It is certain that our troops in Singapore Island heavily outnumber any Japanese who have crossed the Straits. We must destroy them. Our whole fighting reputation is at stake and the honour of the British Empire. The Americans have held out in the
Bataan Peninsula against a far heavier odds, the Russians are turning back the picked strength of the Germans. The Chinese with an almost lack of modern equipment have held the Japanese for four and a half years. It will be disgraceful if we
yield our boasted fortress of Singapore to inferior enemy forces.
By 11 February, the Jurong-Kranji Defence Line was left undefended which allowed the Japanese forces to sweep through the Line to attack Bukit Timah. On the same day, Percival finally moved his Combined Operations Headquarters in Sime
Road to the underground bunker, The Battle Box at Fort Canning.
Despite their fighting spirit, the Dalforce fighters suffered from poor training and the lack of equipment. A further blow was delivered when the 27th Australian Brigade withdrew southwards. As a result, the Japanese established a stronghold in the
northern Woodlands area and secured a relatively easy passage into the island. General Wavell left Singapore for Java early on 11 February and sent a cable to British Prime Minister Winston Churchill in London on his assessment of the war front
in Singapore:
Battle for Singapore is not going well... I ordered Percival to stage counter-attack with all troops possible... Morale of some troops is not good and none is as high as I should like to see... The chief troubles are lack of sufficient training in some
reinforcing troops and an inferior complex which bold Japanese tactics and their command of the air have caused. Everything possible is being done to produce more offensive spirit and optimistic outlook. But I cannot pretend that these efforts
have been entirely successful up to date. I have given the most categorical orders that there is to be no thought of surrender and that all troops are to continue fighting to the end...
By 12 February, the Imperial Guards had captured the reservoirs and Nee Soon village. The defending troops, by this time, were badly shaken. Thousands of exhausted and frightened stragglers left the fighting to seek shelter in large buildings. On
the same night, British forces in the east of the island had begun to withdraw towards the city.
On 13 February, the Japanese 5th Division continued its advance and reached Adam and Farrer Roads to capture the Sime Road Camp. Yamashita moved his HQ forward to the bomb-damaged Ford Factory in Bukit Timah. Heading southwards,
the Japanese 18th Division advanced into Pasir Panjang, where the last major battle of Singapore would be fought with the Malay Regiments at Bukit Chandu.
In 1995, the former battle sites of Kranji and the defence line were gazetted by the National Heritage Board as two of the eleven World War II sites of Singapore.
2005
Knoica Minolta
PICT0052
The Student Involvement Fair, inside and outside of Social Hall, showcased the many opportunities for extra curricular enrichment both inside and outside of the NMH community.
Between 2014 and 2018 Australia will commemorate the Anzac Centenary, marking 100 years since our nation's involvement in the First World War.
These photos are almost 10 years old to the day (7 days away) as it will soon be Anzac day 2015.
I have attended quite a few dawn services but none quite as sobering as being a foreigner, walking fields where Australian soldiers died during wartime, and were burried.
I thought it was time to post my photos from Kranji.
I got up at 4 am along with many other of my Australian Microsoft and MVP friends. Bleary eyed, fighting the fog, we found our way to the bus.
We were in a daze as we were bumped about making our way to the killing fields of Kranji.
Kranji is a suburb in northwestern Singapore, located about 22 kilometres (14 mi) from the city centre.
The Kranji War Memorial in Singapore honours the men and women from the Commonwealth who died in the line of duty during World War II.
A very appropropriate and solem place for Anzac Day 2005.
Back then I was not interested in Photography and my cameras were not that great. Still, that is not the reason for the photos. I did want to try for a perfect shot. I just wanted memories.
It was humid, dark and very quiet as the service started. Bagpipes from overhead and marching in front.
Deep within this quiet neighbourhood, lies the Kranji War Memorial, a hillside cemetery that is quite beautiful in its serenity once you get there.
Every year, a memorial service is held to pay tribute to those who gave their lives.
The memorial honours the men and women from Britain, Australia, Canada, Sri Lanka, India, Malaya, the Netherlands and New Zealand who died in the line of duty during World War II.
Here, we see more than 4,400 white gravestones lined up in rows on the cemetery’s gentle slope. Many graves hold unknown soldiers.
The Chinese Memorial in plot 44 marks a mass grave for 69 Chinese servicemen who were killed by the Japanese when Singapore fell in February 1942.
Next to the Kranji War Memorial are the Kranji Military Cemetery and the Singapore State Cemetery, where Singapore’s first and second presidents are buried.
As we walked the short flight of steps to the hilltop terrace, we saw four memorials.
The largest is the Singapore Memorial, with its huge star-topped central pylon that rises to a height of 24 metres.
This memorial bears the names of more than 24,346 Allied soldiers and airmen killed in Southeast Asia who have no known grave. You can find the register, kept by the Commonwealth War Graves Commission, at the entrance.
Every year, on the Sunday closest to Remembrance Day on 11 November, a memorial service is held to pay tribute to those who gave their lives.
Next to the Kranji War Memorial is the Kranji Military Cemetery, a non-world war site of more than 1,400 burials, as well as the Singapore State Cemetery, where the country’s first and second presidents, Encik Yusof Ishak and Dr Benjamin Henry
Sheares, are buried.
The Battle of Kranji was the second stage of the Empire of Japan's plan for the invasion of Singapore during the Second World War. On 9 February 1942 the Imperial Japanese Army assaulted the north-western front of the British colony of
Singapore. Their primary objective was to secure a second beachhead after their successful assault at Sarimbun Beach on 8 February, in order to breach the Jurong-Kranji defence line as part of their southward thrust towards the heart of
Singapore City. Defending the shoreline between the Kranji River and the Johor–Singapore Causeway was the Australian 27th Brigade, led by Brigadier Duncan Maxwell, and one irregular company.
On 10 February the Japanese forces suffered their heaviest losses while moving up the Kranji River, which caused them to panic and nearly aborted the operation. However, a series of miscommunications and withdrawals by Allied forces in the
ensuing battles allowed the Japanese to swiftly gain strategic footholds, which eventually led to the fall of Singapore on 15 February 1942.
The terrain around Kranji was primarily mangrove swamps and tropical forest intersected by streams and inlets. The shoreline between the Kranji River and the Johor–Singapore Causeway, nearly four kilometers long, was defended by the
Australian 27th Brigade, led by Australian Brigadier Duncan Maxwell. The 27th Infantry Brigade consisted of three battalions—the 2/30th, 2/29th, and 2/26th and was supported by the 2/10th Field Artillery Regiment, as well as one platoon from the
2/4th Machine Gun Battalion.
They were supported by one company from Dalforce (named after its commander, Lieutenant-Colonel John Dalley of the Malayan Police Special Branch), a local Chinese militia consisting of Communists, Nationalist supporters, and other
volunteers. As the war intensified, the Dalforce volunteers were given only three to four days of training and sent to the war front with elementary weapons. Lacking uniforms, the volunteers improvised by wearing a red triangle on their blue shirts to
avoid being mistaken for Japanese by the Australians.
The Allied forces at Kranji were to be assaulted by the Imperial Guards Division led by Major General Takuma Nishimura. 400 Imperial Guards had landed and taken Pulau Ubin, an island in the north-east of Singapore, in a feint attack on 7
February, where they encountered minimal resistance.
On 9 February, two divisions of the Japanese Twenty Fifth Army, led by Lieutenant General Tomoyuki Yamashita, landed on the northwestern coast of Singapore, in the Sarimbun area. Yamashita's headquarters (HQ) was in the Sultan of Johor's
palace on Istana Bukit Serene, which offered him and his officers a bird's eye view of virtually every key target in the northern sector of Singapore Island, only 1.6 kilometres (one mile) across the Straits of Johor. Sultan Ibrahim's palace was not fired
upon by the British because any damage caused would have extensive repercussions for British-Johor ties.
The primary objective of the Japanese at Kranji was to capture Kranji village; this would let them repair the demolished Causeway in order to facilitate easy flow of reinforcements and supplies down the roads of Woodlands and Mandai, and to the
rest of the island for their vanguard force. Once the leading wave of Japanese was safely ashore, the massed Japanese artillery switched their fire to the defensive positions at Kranji. Telegraph and telephone communications were destroyed in the
bombardment and communications between the front line and command HQ were broken. At 8:30pm that night, the men of the Imperial Guards Division began the crossing from Johor in special armoured landing-crafts, collapsible boats and by
swimming.
In the early hours of 10 February, Japanese forces suffered their heaviest losses during the Battle of Singapore. While moving up the Kranji River, advance landing parties from the 4th Regiment of the Imperial Guard Division found themselves
under heavy fire from Australian machine gunners and mortar teams. They also found themselves surrounded by oil slicks, which had been created by Allied personnel emptying the nearby Woodlands oil depot, to prevent its capture. A scenario
feared by Yamashita came to pass by accident; the oil was set alight by Allied small arms fire, causing many Japanese soldiers to be burnt alive. Sustaining heavy losses, Nishimura requested permission to abandon the operation. However,
Yamashita denied the request.
Maxwell, who had limited communications with his division headquarters, was concerned that his force would be cut off by fierce and chaotic fighting at Sarimbun and Jurong to the south west, involving the Australian 22nd Brigade. Maxwell's
force consequently withdrew from the seafront. This allowed the Japanese to land in increasing strength and take control of Kranji village. They also captured Woodlands, and began repairing the causeway, without encountering any Allied attacks.
Japanese light tanks, which had good buoyancy, were towed across the straits to Lim Chu Kang Road where they joined the battle at dusk. With reinforced troops and tanks advancing down Choa Chua Kang Road, the Australian troops were no
match for the tanks and fled to the hills of Bukit Panjang. The 5th Division (Imperial Japanese Army) captured Bukit Timah village by the evening of 11 February.
Lieutenant-General Arthur Percival, General Officer Commanding of HQ Malaya Command, drew a defence perimeter covering Kallang aerodrome, MacRitchie and Peirce reservoirs and the Bukit Timah supply depot area to ensure the integrity
of the city's defence. One line of the north-western defence perimeter was the Jurong-Kranji defence line, a narrow ridge connecting the sources of the Jurong and the Kranji Rivers, forming a natural defence line protecting the north-west
approach to the Singapore City. (Its counterpart was the Serangoon Line, which was sited between Kallang Airfield and Paya Lebar village on the eastern part of Singapore). The troops were to defend this Line strongly against the invading
Japanese force. The Line was defended by the 44th Indian Infantry Brigade which covered milestone 12 on Jurong Road, the 12th Indian Infantry Brigade and the reinforced 22nd Australian Brigade which guarded the northern part of the Line and
maintained contact with the 44th Indian Brigade. The 15th Indian Infantry Brigade was re-positioned near Bukit Timah Road to guard the island's vital food and petrol supplies. A secret instruction to protect this area was issued to Percival's
generals.
Percival's secret orders to withdraw to the last defence line around the city only if necessary were misunderstood by Maxwell, who took this to be an order for an immediate withdrawal to the Line. As a result, the 44th Indian Infantry Brigade, the 12th
Indian Infantry Brigade and the 22nd Australian Brigade, reinforced after their withdrawal from Sarimbun beach in the north-west, abandoned the Line on 10 February. Fearing that the large supplies depot would fall into Japanese hands should
they make a rush for Bukit Timah too soon, General Archibald Wavell, Allied commander-in-chief of the Far East sent an urgent message to Percival:
It is certain that our troops in Singapore Island heavily outnumber any Japanese who have crossed the Straits. We must destroy them. Our whole fighting reputation is at stake and the honour of the British Empire. The Americans have held out in the
Bataan Peninsula against a far heavier odds, the Russians are turning back the picked strength of the Germans. The Chinese with an almost lack of modern equipment have held the Japanese for four and a half years. It will be disgraceful if we
yield our boasted fortress of Singapore to inferior enemy forces.
By 11 February, the Jurong-Kranji Defence Line was left undefended which allowed the Japanese forces to sweep through the Line to attack Bukit Timah. On the same day, Percival finally moved his Combined Operations Headquarters in Sime
Road to the underground bunker, The Battle Box at Fort Canning.
Despite their fighting spirit, the Dalforce fighters suffered from poor training and the lack of equipment. A further blow was delivered when the 27th Australian Brigade withdrew southwards. As a result, the Japanese established a stronghold in the
northern Woodlands area and secured a relatively easy passage into the island. General Wavell left Singapore for Java early on 11 February and sent a cable to British Prime Minister Winston Churchill in London on his assessment of the war front
in Singapore:
Battle for Singapore is not going well... I ordered Percival to stage counter-attack with all troops possible... Morale of some troops is not good and none is as high as I should like to see... The chief troubles are lack of sufficient training in some
reinforcing troops and an inferior complex which bold Japanese tactics and their command of the air have caused. Everything possible is being done to produce more offensive spirit and optimistic outlook. But I cannot pretend that these efforts
have been entirely successful up to date. I have given the most categorical orders that there is to be no thought of surrender and that all troops are to continue fighting to the end...
By 12 February, the Imperial Guards had captured the reservoirs and Nee Soon village. The defending troops, by this time, were badly shaken. Thousands of exhausted and frightened stragglers left the fighting to seek shelter in large buildings. On
the same night, British forces in the east of the island had begun to withdraw towards the city.
On 13 February, the Japanese 5th Division continued its advance and reached Adam and Farrer Roads to capture the Sime Road Camp. Yamashita moved his HQ forward to the bomb-damaged Ford Factory in Bukit Timah. Heading southwards,
the Japanese 18th Division advanced into Pasir Panjang, where the last major battle of Singapore would be fought with the Malay Regiments at Bukit Chandu.
In 1995, the former battle sites of Kranji and the defence line were gazetted by the National Heritage Board as two of the eleven World War II sites of Singapore.
2005
Knoica Minolta
PICT0055
The interfaith EarthKeepers II Team held a strategy meeting on April 5, 2013 at the Big Bay Point Lighthouse Bed and Breakfast in Big Bay, Michigan to plan the 30 faith community gardens.
EarthKeepers II is an Interfaith Energy Conservation and Community Garden Initiative across the Upper Peninsula of Michigan.
Over the next two years, at least 30 interfaith community gardens will be planted that include vegetables (some fresh produce will be given to food banks) - plus native species plants.
EarthKeepers II has representatives from 10 faith communities involving 250 churches/temples in northern Michigan: Roman Catholic, Episcopal, Jewish, Lutheran, Presbyterian, United Methodist, Bahá'í, Unitarian Universalist and Zen Buddhist.
These gardens will serve as a pollinator central for all plants in the area.
Native species plants are pollinator friendly - and that is important as one-third of America's pollinators have died in the past 7 years.
The reasons for the pollinator disappearances (bees, butterflies) are varied but most of which are human related especially a new and deadly pesticide/fertilizer powder that is used to coat seeds.
Humans cannot live without pollinators.
A presentation on native species plants and pollinators was given by U.S. Forest Service Midwest Botanist Jan Schultz.
Schultz is the Head Botanist at the USFS Eastern Region (R-9) Office in Milwaukee, Wisconsin and we are fortunate she is the EarthKeepers II Technical Advisor for Community Gardens
EarthKeepers II Project Coordinator Kyra Fillmore Ziomkowski explained the community garden plans at churches and temples across the U.P.
Funded by the EPA Great Lakes Restoration Initiative, EarthKeepers II has a major goal of reducing toxins in the Great Lakes including airborne mercury - through energy conservation audits and grants for churches/temples - and educating their congregations on ways to reduce energy consumption at home - while getting financial incentives to do so.
An EarthKeepers II contractor has completed 17 of the 40 energy audits at churches/temples in the U.P. - and all will be completed by this fall, according to Delta Green Ex. Dir. Doug Russell, Executive Director, EarthKeepers II Energy Conservation Consultant.
Grants of up to $500 (in a few cases more) will be offered to these congregations to help make energy conservations repairs at the houses of worship
Those attending the Big Bay meeting included faith leaders and representatives, project organizers and the EarthKeepers II Student Team from Northern Michigan University.
Attendees included:
Longtime EarthKeeper Rev. Tesshin Paul Lehmberg of the Lake Superior Zendo, a Zen Buddhist temple located at 2222 Longyear Ave, in Marquette, MI.
906-226-6407
plehmber@nmu.edu
Guest speaker the Rev. Stephen Gauger of Calvary Lutheran Church
Rapid River, Michigan - representing the Northern Great Lakes Synod (NGLS) of the Evangelical Lutheran Church in America (ELCA) - and NGLS Bishop Thomas Skrenes.
Helen Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI
www.templebethsholom-ishpeming.org
Rev. Christine Bergquist of the Bark River United Methodist Church (UMC) and the First UMC of Hermansville - and representing the United Methodist Church Marquette District - and Rev Elbert P Dulworth, District Superintendent.
(EarthKeepers II also thanks Grant Lobb, former Mqt. Dist. Supt. (who has taken another position) and a longtime supporter of U.P. EarthKeepers projects - and we remember the late Episcopal "Earth Bishop" - Bishop James "Jim" Kelsey - who was with the EarthKeepers from our humble beginnings in 2005 - and now watches over us from above.)
Rev. Albert Valentine II of the Manistique Presbyterian Church of the Redeemer and the Gould City Community Presbyterian Church - and representing the Presbytery of Mackinac.
Rev. Pete Andersen, a retired ELCA pastor from Marquette.
Rev. Elisabeth Zant of the NGLS ELCA Eden Evangelical Lutheran Church in Munising, MI.
Heidi Gould of
Marquette representing the Marquette Unitarian Universalist Congregation, a liberal religious community for the Marquette community
Check out the EarthKeepers II social sites (see links below) including our videos - that include beautiful pollinator and nature photos in videos by environmentalist Nancy Parker Hill.
And vegetable garden photos by Carol Michel, a garden blogger, garden writer, eccentric gardener in the Indianapolis, IN area.
Indygardener at gmail.com
May Dreams Gardens:
www.maydreamsgardens.blogspot.com
www.facebook.com/MayDreamsGardens
Among those involved in the project but not mentioned above are:
Rev. Jon Magnuson, Executive Director
Nonprofit Cedar Tree Institute
EarthKeepers II Project Director
Marquette, Michigan
Nonprofit Cedar Tree Institute projects include Zaagkii Wings and Seeds Project, the Manitou Project and the Zaagkii Wings and Seeds Project
Keweenaw Bay Indian Community (KBIC)
Baraga, Michigan
KBIC Natural Resources Department
KBIC Solar-Powered Green House
L'Anse, Michigan
Borealis Seed Company
Judy Keast, Suzanne Rabitaille
Big Bay, Michigan
NMU EarthKeepers II Student Team:
Katelin Bingner
Tom Merkel
Adam Magnuson
10 Faith Communities:
Roman Catholic
Episcopal
Jewish
Lutheran
Presbyterian
United Methodist
Bahá'í
Unitarian Universalist
Zen Buddhist
Rev. Charlie West
EarthKeepers II Religious Communications
Obadiah Metivier
EarthKeepers II Webmaster
Owner & Creative Director of Middle Ear Media
Marquette, Michigan
Videography, Editor, Producer, and Project Volunteer Media Advisor:
Greg Peterson
EarthKeepersII@gmail.com
906-401-0109
Special thanks to the Marquette Community Gardens
www.marquettecommunitygardens.org
www.facebook.com/pages/Marquette-Community-Gardens/277739...
EarthKeepers II thanks everyone named and unnamed for their loving help with this project:
An Interfaith Energy Conservation and Community Garden Initiative Across the Upper Peninsula of Michigan to Restore Native Plants and Protect the Great Lakes from Toxins like Airborne Mercury in cooperation with the EPA Great Lakes Restoration Initiative, U.S. Forest Service, 10 faith traditions and Native American tribes like the Keweenaw Bay Indian Community
Official EarthKeepers II website
Nonprofit Cedar Tree Institute in Marquette, MI
EPA Great Lakes Restoration Initiative
U.S. Environmental Protection Agency
Great Lakes Binational Toxics Strategy (GLBTS)
Deborah Lamberty
Program Analyst
U.S. Environmental Protection Agency (EPA)
Great Lakes National Program Office
77 W. Jackson Blvd.
Chicago, IL
60604-3590
Lamberty.Deborah@epa.gov
312-886-6681 (wk)
312-692-2974 (fax)
Elizabeth 'Liz' LaPlante, senior manager for the EPA Great Lakes National Programs Office in Chicago, Ill
EarthKeepers II social sites:
www.youtube.com/EarthKeepersII
www.facebook.com/EarthKeepersII
www.twitter.com/EarthKeeperTeam
pinterest.com/EarthKeepersII/EarthKeepers-II-and-the-EPA-...
pinterest.com/EarthKeepersII/Great-Lakes-Restoration-Init...
Google youtube page for EKII:
plus.google.com/u/0/b/104404714072685272630/1044047140726...
www.linkedin.com/in/gregpetersonyoopernewsman
www.facebook.com/GregJohnPeterson
www.facebook.com/EarthKeepersII
fyi:
EarthKeeper II Energy Conservation Audits finished as of 6-12-13
St. Paul's Episcopal Church
Marquette, MI
St. Matthais Episcopal Church
Pickford, MI
St. James Episcopal Church
Sault Ste. Marie, MI
Temple Beth Sholom
Jewish Synagogue
Ishpeming, MI
Messiah Lutheran Church
Marquette, MI
St. Mark's Church
Marquette, MI
Grace Lutheran Church
Pembine, WI
Trinity Lutheran Church
Rhinelander, WI
Emmanuel Lutheran Church
Skandia, MI
St. James Lutheran Church
Rudyard, MI
Pickford United Methodist Church (UMC)
Pickford, MI
First UMC
Marquette, MI
Newberry UMC
Newberry, MI
Paradise UMC
Paradise, MI
Hulbert/Taquamenon UMC
Hulbert, MI
Marquette Unitarian Universalist Congregation
Marquette, MI
Lake Superior Zendo
Zen Buddhist
Aurora Dharma Temple
Marquette, MI
Thanks to our friends at the Big Bay lighthouse:
Big Bay Point Lighthouse Bed and Breakfast
#3 Lighthouse Road
Big Bay, Michigan
49808
906-345-9957 (office)
keepers@BigBayLighthouse.com
Sanders involvement with Norwich city service 32 Sprowston - Pilling Park Circular, which they inherited with the Neaves of Catfield business in April 2014, came to an end on Saturday 26th March 2016. Thus the relevance of this 9th February shot of their Wright Pulsar bodied VDL SB200 type number 230 - YJ59 AYY (renumbered on paper at least to 407 in January 2016) passing along Red Lion Street in Norwich with the above service 32 journey, becomes clear.
As from Tuesday 29th March, Our Bus (Our Hire) of Acle will be taking over operation, using a much altered route and reduced timetable. The registration on the VOSA website states that service 32 will now operate Monday to Friday only, but the Traveline site has the inward journey, it no longer being a circular, running on Friday only.
Between 2014 and 2018 Australia will commemorate the Anzac Centenary, marking 100 years since our nation's involvement in the First World War.
These photos are almost 10 years old to the day (7 days away) as it will soon be Anzac day 2015.
I have attended quite a few dawn services but none quite as sobering as being a foreigner, walking fields where Australian soldiers died during wartime, and were burried.
I thought it was time to post my photos from Kranji.
I got up at 4 am along with many other of my Australian Microsoft and MVP friends. Bleary eyed, fighting the fog, we found our way to the bus.
We were in a daze as we were bumped about making our way to the killing fields of Kranji.
Kranji is a suburb in northwestern Singapore, located about 22 kilometres (14 mi) from the city centre.
The Kranji War Memorial in Singapore honours the men and women from the Commonwealth who died in the line of duty during World War II.
A very appropropriate and solem place for Anzac Day 2005.
Back then I was not interested in Photography and my cameras were not that great. Still, that is not the reason for the photos. I did want to try for a perfect shot. I just wanted memories.
It was humid, dark and very quiet as the service started. Bagpipes from overhead and marching in front.
Deep within this quiet neighbourhood, lies the Kranji War Memorial, a hillside cemetery that is quite beautiful in its serenity once you get there.
Every year, a memorial service is held to pay tribute to those who gave their lives.
The memorial honours the men and women from Britain, Australia, Canada, Sri Lanka, India, Malaya, the Netherlands and New Zealand who died in the line of duty during World War II.
Here, we see more than 4,400 white gravestones lined up in rows on the cemetery’s gentle slope. Many graves hold unknown soldiers.
The Chinese Memorial in plot 44 marks a mass grave for 69 Chinese servicemen who were killed by the Japanese when Singapore fell in February 1942.
Next to the Kranji War Memorial are the Kranji Military Cemetery and the Singapore State Cemetery, where Singapore’s first and second presidents are buried.
As we walked the short flight of steps to the hilltop terrace, we saw four memorials.
The largest is the Singapore Memorial, with its huge star-topped central pylon that rises to a height of 24 metres.
This memorial bears the names of more than 24,346 Allied soldiers and airmen killed in Southeast Asia who have no known grave. You can find the register, kept by the Commonwealth War Graves Commission, at the entrance.
Every year, on the Sunday closest to Remembrance Day on 11 November, a memorial service is held to pay tribute to those who gave their lives.
Next to the Kranji War Memorial is the Kranji Military Cemetery, a non-world war site of more than 1,400 burials, as well as the Singapore State Cemetery, where the country’s first and second presidents, Encik Yusof Ishak and Dr Benjamin Henry
Sheares, are buried.
The Battle of Kranji was the second stage of the Empire of Japan's plan for the invasion of Singapore during the Second World War. On 9 February 1942 the Imperial Japanese Army assaulted the north-western front of the British colony of
Singapore. Their primary objective was to secure a second beachhead after their successful assault at Sarimbun Beach on 8 February, in order to breach the Jurong-Kranji defence line as part of their southward thrust towards the heart of
Singapore City. Defending the shoreline between the Kranji River and the Johor–Singapore Causeway was the Australian 27th Brigade, led by Brigadier Duncan Maxwell, and one irregular company.
On 10 February the Japanese forces suffered their heaviest losses while moving up the Kranji River, which caused them to panic and nearly aborted the operation. However, a series of miscommunications and withdrawals by Allied forces in the
ensuing battles allowed the Japanese to swiftly gain strategic footholds, which eventually led to the fall of Singapore on 15 February 1942.
The terrain around Kranji was primarily mangrove swamps and tropical forest intersected by streams and inlets. The shoreline between the Kranji River and the Johor–Singapore Causeway, nearly four kilometers long, was defended by the
Australian 27th Brigade, led by Australian Brigadier Duncan Maxwell. The 27th Infantry Brigade consisted of three battalions—the 2/30th, 2/29th, and 2/26th and was supported by the 2/10th Field Artillery Regiment, as well as one platoon from the
2/4th Machine Gun Battalion.
They were supported by one company from Dalforce (named after its commander, Lieutenant-Colonel John Dalley of the Malayan Police Special Branch), a local Chinese militia consisting of Communists, Nationalist supporters, and other
volunteers. As the war intensified, the Dalforce volunteers were given only three to four days of training and sent to the war front with elementary weapons. Lacking uniforms, the volunteers improvised by wearing a red triangle on their blue shirts to
avoid being mistaken for Japanese by the Australians.
The Allied forces at Kranji were to be assaulted by the Imperial Guards Division led by Major General Takuma Nishimura. 400 Imperial Guards had landed and taken Pulau Ubin, an island in the north-east of Singapore, in a feint attack on 7
February, where they encountered minimal resistance.
On 9 February, two divisions of the Japanese Twenty Fifth Army, led by Lieutenant General Tomoyuki Yamashita, landed on the northwestern coast of Singapore, in the Sarimbun area. Yamashita's headquarters (HQ) was in the Sultan of Johor's
palace on Istana Bukit Serene, which offered him and his officers a bird's eye view of virtually every key target in the northern sector of Singapore Island, only 1.6 kilometres (one mile) across the Straits of Johor. Sultan Ibrahim's palace was not fired
upon by the British because any damage caused would have extensive repercussions for British-Johor ties.
The primary objective of the Japanese at Kranji was to capture Kranji village; this would let them repair the demolished Causeway in order to facilitate easy flow of reinforcements and supplies down the roads of Woodlands and Mandai, and to the
rest of the island for their vanguard force. Once the leading wave of Japanese was safely ashore, the massed Japanese artillery switched their fire to the defensive positions at Kranji. Telegraph and telephone communications were destroyed in the
bombardment and communications between the front line and command HQ were broken. At 8:30pm that night, the men of the Imperial Guards Division began the crossing from Johor in special armoured landing-crafts, collapsible boats and by
swimming.
In the early hours of 10 February, Japanese forces suffered their heaviest losses during the Battle of Singapore. While moving up the Kranji River, advance landing parties from the 4th Regiment of the Imperial Guard Division found themselves
under heavy fire from Australian machine gunners and mortar teams. They also found themselves surrounded by oil slicks, which had been created by Allied personnel emptying the nearby Woodlands oil depot, to prevent its capture. A scenario
feared by Yamashita came to pass by accident; the oil was set alight by Allied small arms fire, causing many Japanese soldiers to be burnt alive. Sustaining heavy losses, Nishimura requested permission to abandon the operation. However,
Yamashita denied the request.
Maxwell, who had limited communications with his division headquarters, was concerned that his force would be cut off by fierce and chaotic fighting at Sarimbun and Jurong to the south west, involving the Australian 22nd Brigade. Maxwell's
force consequently withdrew from the seafront. This allowed the Japanese to land in increasing strength and take control of Kranji village. They also captured Woodlands, and began repairing the causeway, without encountering any Allied attacks.
Japanese light tanks, which had good buoyancy, were towed across the straits to Lim Chu Kang Road where they joined the battle at dusk. With reinforced troops and tanks advancing down Choa Chua Kang Road, the Australian troops were no
match for the tanks and fled to the hills of Bukit Panjang. The 5th Division (Imperial Japanese Army) captured Bukit Timah village by the evening of 11 February.
Lieutenant-General Arthur Percival, General Officer Commanding of HQ Malaya Command, drew a defence perimeter covering Kallang aerodrome, MacRitchie and Peirce reservoirs and the Bukit Timah supply depot area to ensure the integrity
of the city's defence. One line of the north-western defence perimeter was the Jurong-Kranji defence line, a narrow ridge connecting the sources of the Jurong and the Kranji Rivers, forming a natural defence line protecting the north-west
approach to the Singapore City. (Its counterpart was the Serangoon Line, which was sited between Kallang Airfield and Paya Lebar village on the eastern part of Singapore). The troops were to defend this Line strongly against the invading
Japanese force. The Line was defended by the 44th Indian Infantry Brigade which covered milestone 12 on Jurong Road, the 12th Indian Infantry Brigade and the reinforced 22nd Australian Brigade which guarded the northern part of the Line and
maintained contact with the 44th Indian Brigade. The 15th Indian Infantry Brigade was re-positioned near Bukit Timah Road to guard the island's vital food and petrol supplies. A secret instruction to protect this area was issued to Percival's
generals.
Percival's secret orders to withdraw to the last defence line around the city only if necessary were misunderstood by Maxwell, who took this to be an order for an immediate withdrawal to the Line. As a result, the 44th Indian Infantry Brigade, the 12th
Indian Infantry Brigade and the 22nd Australian Brigade, reinforced after their withdrawal from Sarimbun beach in the north-west, abandoned the Line on 10 February. Fearing that the large supplies depot would fall into Japanese hands should
they make a rush for Bukit Timah too soon, General Archibald Wavell, Allied commander-in-chief of the Far East sent an urgent message to Percival:
It is certain that our troops in Singapore Island heavily outnumber any Japanese who have crossed the Straits. We must destroy them. Our whole fighting reputation is at stake and the honour of the British Empire. The Americans have held out in the
Bataan Peninsula against a far heavier odds, the Russians are turning back the picked strength of the Germans. The Chinese with an almost lack of modern equipment have held the Japanese for four and a half years. It will be disgraceful if we
yield our boasted fortress of Singapore to inferior enemy forces.
By 11 February, the Jurong-Kranji Defence Line was left undefended which allowed the Japanese forces to sweep through the Line to attack Bukit Timah. On the same day, Percival finally moved his Combined Operations Headquarters in Sime
Road to the underground bunker, The Battle Box at Fort Canning.
Despite their fighting spirit, the Dalforce fighters suffered from poor training and the lack of equipment. A further blow was delivered when the 27th Australian Brigade withdrew southwards. As a result, the Japanese established a stronghold in the
northern Woodlands area and secured a relatively easy passage into the island. General Wavell left Singapore for Java early on 11 February and sent a cable to British Prime Minister Winston Churchill in London on his assessment of the war front
in Singapore:
Battle for Singapore is not going well... I ordered Percival to stage counter-attack with all troops possible... Morale of some troops is not good and none is as high as I should like to see... The chief troubles are lack of sufficient training in some
reinforcing troops and an inferior complex which bold Japanese tactics and their command of the air have caused. Everything possible is being done to produce more offensive spirit and optimistic outlook. But I cannot pretend that these efforts
have been entirely successful up to date. I have given the most categorical orders that there is to be no thought of surrender and that all troops are to continue fighting to the end...
By 12 February, the Imperial Guards had captured the reservoirs and Nee Soon village. The defending troops, by this time, were badly shaken. Thousands of exhausted and frightened stragglers left the fighting to seek shelter in large buildings. On
the same night, British forces in the east of the island had begun to withdraw towards the city.
On 13 February, the Japanese 5th Division continued its advance and reached Adam and Farrer Roads to capture the Sime Road Camp. Yamashita moved his HQ forward to the bomb-damaged Ford Factory in Bukit Timah. Heading southwards,
the Japanese 18th Division advanced into Pasir Panjang, where the last major battle of Singapore would be fought with the Malay Regiments at Bukit Chandu.
In 1995, the former battle sites of Kranji and the defence line were gazetted by the National Heritage Board as two of the eleven World War II sites of Singapore.
2005
Knoica Minolta
PICT0065
Sumps are awesome additions to salt water aquariums. But they tend to involve a lot of expense. I'll explain. Everything. Likely you'll regret you ever started reading, lol. Anyway.
This is a design for a sump I came up with to help make setting up a larger salt tank with a sump considerably less expensive than as is usual.
How it is usually done
Generally, the way sumps are done is they are set up below the main tank.
Normally, an overflow port is required in the main fish tank near the top. As water is pumped out of the sump below and into the main tank, the water pours out of the main tank overflow port, back through a tube, thereby back into the sump below.
In this way, physics takes care of the primary circulation issues, and, conveniently enough, it keeps the main fish tank's level 100% constant — always at the level of the overflow port. It can't go any higher, because it just pours out of the overflow port faster. It can't go any lower, because there is always water being pumped in from the sump.
That constant water level is just a side-effect though; evaporation still takes place, but it's the water level in the sump that varies in response. It's not like you can ignore said evaporation and water level change, even though it's just visible in the sump, because evaporation means the salinity of the water is increasing (the salt doesn't evaporate) so really, not so much of a benefit after all. You'll be adding water to compensate no matter what.
Now, if the sump's water lift pump fails, the upper tank stops receiving water inflow, the overflow port stops overflowing, and things just quietly sit there. Physics, being our very best friend. The fish are at no risk.
Of course, the upper tank might start to siphon back down the water lift pump line into the sump, so the sump could overflow — sumps are almost always much lower volume than the tanks they support, so what is a little bit of water volume in the context of the main tank is a lot of water volume in the context of the sump — but people tend to use one-way check valves (which can fail, he whispered) to prevent that.
Or, they have to put an (ugly... yech) reduced volume chamber into the main tank so that the siphon volume is limited. Well, ouch. One of the main ideas of a sump is to keep the ugly industrial stuff out of the main tank and hide it off in the sump. So the addition of the volume-restriction for the inflow makes the physics work perfectly, but now... now the tank looks like a plumber's Lego set. Fail. So... not all that great after all.
Here is the next big problem with an under-sump. Even moderately large fish tanks, such as the 75 gallon I just picked up a few weeks ago from PetSmart, are almost always made with tempered glass, and without overflow ports. I have diamond hole-cutting saws, which are inexpensive and sort of amazing, but... you really can't use them on tempered glass to create ports in an otherwise solid pane as the success rate is very low, nearly zero in fact. You usually end up with shattered glass, no matter how careful you are. My new tank had a huge warning label stuck to it saying exactly this. I knew it already, but it was still sobering to see it right there from the tank manufacturer.
But buying a tank made with overflow ports? Ouch. They really smack you in the wallet for that. Most are custom built. Don't even ask. If you have to ask...
But if you don't have an overflow port and a reduced volume inflow chamber in the main tank, the physics of a sump-below are even more tricky and problematic. Very wet floors are, eventually, a certainty. There will be return pump failures, high-volume siphoning, sometimes both.
Plus you have to put ugly equipment right in the main tank to create a pseudo-overflow that depends upon a constant siphon (which will fail the very first time air bubbles get in it) or a pump which will eventually fail as well, and then the pump that is driving the lift from the sump into the main tank will make the whole tank overflow. Ugh. Too many problems. Too much risk of damage to the home. Two pumps instead of one, or an unreliable siphon. Neither works for me. And the price of a pre-ported tank was not acceptable either. Not going there.
But I still wanted a pretty tank containing nothing but fishy / reefy / crawly things and a great sump where all the filtering, skimming, toxin removal, aeration and so on were hidden from view. The benefits aside from aesthetics are myriad: Tank maintainance, environmental management, ease of service, no more getting bitten by my fish every time I serviced the tank (funny story... will tell elsewhere, later.) What to do? Think, fella, think. Ok. Ok.
Trying Something Different
How about putting a sump above? The physics won't help out with regard to keeping the main tank's level constant, but that's not critical — could the rest be made to work? Perusing the web... couldn't find a thing. Sumps, apparently, are intended by Poseidon himself to reside below the main tank, and he insists have you use a ported tank, and that's pretty much the end of it. Mmmmph. Well. Look here, Thor's got a hammer, and your god... no wait, that's something else.
But I think I have figured it out. Refer to the design in the image above as I walk through this. Those of you who haven't wandered away already muttering "what the heck?" Or worse.
First, unwanted siphoning:
The water is pumped up to the sump from the main tank below, thence into chamber number one. If power fails or the pump otherwise stops, and the intake, due to the weight of the height of the water column in it, begins to siphon from the sump back into the main tank, it can only pull water from chamber number one, which has a very limited volume and the feed is just under the surface. The limited volume is because the first barrier disallows pulling water backwards from succeeding chambers into chamber number one. The feed being near the surface means that if it does start siphoning, it'll suck air before it even drains a fraction of the already limited-volume of chamber number one, below the feed outlet. So, no significant siphoning can happen. That's the biggest deal. Safety, period.
Next, particulate filtration is needed. I use some pretty standard (and inexpensive, and easily managed) filter packages for my other salt tank, and to keep things both simple and inexpensive, I wanted to use them here as well. So that's why the filter retainer is where it is. There's enough space in this chamber and all the other similarly sized chambers for my hand to get in there as well for cleaning, but no more than that. If the filters are unclogged (as is normal), the water will flow through them into chamber three. If not, it will overflow into chamber three below the level of chamber one, and so cannot contribute to siphoning. I made the filter slots with a five-layer "sandwich" of glass and plexiglass (details here) that allow simply sliding the filters in from above. Easy-peasy. Well, mostly.
Next, the sump's overflow port needed, for strength, to be basically in the middle of one of the end glass panes. Attack even a non-tempered glass pane with a one-inch-plus diamond hole cutting saw anywhere near the pane's edge, and you will likely be very, very sorry. And in need of a new pane of glass. Also perhaps stitches. So in the middle of an end it had to be.
But as the idea stood thus far, that would mean that the main tank area could only be half full. Poor utilization of available volume, I thinks to meself, jauntily cocking my engineer hat (or is it a pirate hat... salt water and all... No, wait, it's just cat toys in my hair again. Silly cats.) So another barrier leading to a relatively small volume chamber (chamber four) that can only get as full as the overflow port, but creates a large equipment chamber (chamber three) that can utilize most of the available remaining volume.
Now the water flow is:
Out of the main tank via a pump, then up above, and down into, the sump hidden above.
The output of the pump goes into chamber one, which prevents the siphoning. Also, the exit of the inflow pipe when operating is always under water, this is guaranteed by the overflow barrier being higher than the outflow opening is, so no raging splashing from the inflow. Ever. Nice. :)
Thence into chamber two, which sits before the particulate filtration assembly. From there through the particulate filters, or worst case if they are too loaded with particulates, over them.
Now on into the largest chamber, three, in which will be located the heater, skimmer, aeration, CO2 system, Ph and salinity sensors, toxin and nitrate sponges, and some various small biologicals to help keep the water healthier. That is the stuff I don't want cluttering up the view in the main tank. If I need to add water or salt or plankton or meds or whatever, I do it right into chamber three. Wide open, easy top access, no fish bites.
From there, over a slightly (1/2 inch) lower level overflow to guarantee flow direction continues to be correct, into chamber four, where it naturally flows back down into the main tank at about the 1/2 sump tank height level.
And in the main tank? An intake tube leading to the pump, and the sump's outflow tube. Both tubes are highly inconspicuous. And a light. A very pretty and efficient LED light. That's it, other than fish, water, and sand.
So with Deb's help spraying water continuously from the hose onto the saw and glass, I cut the hole in the 30 gallon tank, which went... swimmingly... (cough.) Ok, ok, I'll stop with the bad puns. What? No, those aren't crossed fingers. I have a cramp, that's all. Sod off, then.
Right now, I'm presently in the process of having my glass guys use silicone to assemble and mount the cut glass and plexiglass pieces that form the various barriers and filter holders. It's going fine, though the curing times are longish, so not done yet and I've not actually seen the result. I will dutifully shoot a picture of the assembled unit when it is done, and again when it is — hopefully — in operation, actually working.
Will it work? I'm thinking it will. We'll see! Tune in next week, when "Sump Thing Is Very Wet Around Here" returns for its new season, starring one very troublesome and quick fish. I'll explain more about that nasty little twerp then.
The unsolved murder of June and Royston Sheasby (1957) - At about 5.30 p.m. on Thursday, 20th June 1957, June Sheasby, aged 7, and her brother Royston, aged 5, left their home in Brockworth Crescent, Stapleton, Bristol, for a walk towards Wickham Glen. When they failed to return a massive search involving thousands of people was launched, during which fields and woodland were scoured, police frogmen searched a pond, and near-by streams were dragged. Eleven days later on Monday, 1st July, the bodies of the Sheasby children were found buried side by side in a shallow grave among dense undergrowth in woods 100 yards from the River Frome at Snuff Mills Park.
A light covering of leaves and soil had been partly exposed by heavy rain. Both children had severe head injuries and fractured skulls. The patients of four mental hospitals around Bristol were questioned. Despite an extensive police investigation during which 25,000 people were interviewed and more than 2,000 statements were taken, the murderer remained at large.
Why innocence died with Babes in Wood
AS the search party prepared to turn in after another frustrating day, the shrill blast of a police whistle emanated from a secluded nook in a Bristol wood. The bodies of two children, their tiny skulls crushed, had been found in a shallow grave on the banks of the River Frome, in Stapleton. It was 9pm, Monday, July 1, 1957. The 'Babes in the Wood', as they came to be known, were seven-year-old June Sheasby and her younger brother Royston, aged five.
And their killer? What monster could have committed such a cowardly crime? Still, almost 50 years on, nobody knows. Could a West Country pensioner be hiding a sinister secret? Could the person who shattered the idyllic tranquility of a Bristol suburb be walking the streets today? Looking back, it sounds like a golden age, an age of innocence. Even the gyrating hips of Elvis Presley had to be censored lest they caused offence. But behind this veneer of naivety was a reality that the West could no longer ignore once that whistle was heard across the grounds of Snuff Mills Park.
'Tell this story,' the mother of the murdered children, Barbara Sheasby, would later implore. 'I don't want it to be forgotten. Things like that should never be forgotten.'
Thursday, June 20, was a sultry, sticky summer day - the West was in the midst of a heatwave. When the temperature eased in the late afternoon, little Royston Sheasby felt like going for a walk. His elder sister, June, was less keen. But Royston was insistent - he wanted to look at a pair of brown horses in a nearby field - and June was swayed. It was half-past-five. They told their mother of their plans, and off they went - June clutching a chocolate box, both of them laughing and talking excitedly.
Mrs Sheasby was so busy decorating the family home in Brockworth Crescent, Stapleton, that time simply flew by. When she finally took a break from her painting, she noticed the time with a fright - seven o'clock. Her children were always back by then, and she raised the alarm.
SO began the biggest child hunt Britain had ever seen. The whole country was intrigued by the mystery surrounding the siblings' disappearance. In an amazing tribute to the strength of the West's community spirit, volunteers joined the search party in droves. Before long, more than 10,000 men, women and children were scouring the Stapleton area. Nowadays, such a response is unthinkable.
Local police officers who searched around the clock for 11 days, turned down overtime pay. As the days went by, storm clouds started to gather overhead, and as the heatwave broke, heavy rain hindered the search effort. The signs were ominous, but as the dogs sniffed, frogmen waded and firemen toiled, the West held its breath, desperate for some good news. Right to the end, the children's parents - Jesse, an iron moulder, and Barbara - clung to the possibility that their offspring would be found alive.
Perhaps they had been kidnapped. A letter addressed to the Bristol Evening Post suggested they had, but it turned out to be a malicious hoax. Could June and Royston be trapped in the woods? There were ravines enough around the banks of the River Frome, where they were last seen.
But that ghostly whistle shattered the hopes of a whole community. It was sounded by Jefferson Brough, a young police officer. He had glimpsed a tiny hand protruding from of a bundle of leaves. The rain had washed away some of the foliage and revealed a shallow grave - and within it, the body of little Royston Sheasby.
June was found just inches away, the pair as close in death as they had been in life, each of their lives brutally cut short by a blow to the side of the head with some blunt instrument.
There was no evidence of a sexual assault, no sign of a struggle, no theft and no obvious motive for this mindless attack. It seems the Sheasbys died satisfying one person's murderous lust. More than 25,000 people were questioned and thousands of statements were taken, but police had very little to go on. They tried to locate two key witnesses. The mysterious 'Man in the Blue Suit' was thought to be the last person to see the children alive. And a man with 'peering eyes' was seen staring at children near where the Sheasbys were found. Neither witness (maybe they were the same man) was ever identified.
Other difficulties arose. The children were found yards from Bristol Mental Hospital, now Blackberry Hill Hospital. However, when they interviewed the patients, proceedings took a farcical turn. Dozens confessed to the murder, and the police were forced to spend precious time disproving these confessions, rather than trying to catch the killer. The facade of innocence that pervaded 1950s society hampered the investigation, too. It was known that there were courting couples down by the river, but many were too embarrassed to come forward.
So, as the Sheasby children lay in a flower-strewn grave in Filton New Cemetery, the trail went cold. The investigation had lost momentum. Promising leads were scarce and the passing weeks became months and then years. Barring a miracle, it seemed the identity of the man who struck fear into the whole of the West would remain a mystery.
However, in a sensational development, that miracle nearly came about seven years later, in the summer of 1964. On August 26, the sixth international congress of psychology gathered in London, and Dr Arthur Hyatt Williams, a Home Office psychiatrist, delivered a speech that stunned the West Country.
Hyatt Williams said that a prisoner patient of his, serving time for a minor crime, had made a confession to him just before he died. He had murdered two small children - a girl and a boy.
THE case of 'Babes in the Wood' was back in the spotlight, thrust into the centre of a political storm. Hyatt Williams would say neither who the prisoner was, nor who the murdered children were. He said he felt like a priest who had received a confession. Jesse Sheasby, though, had no doubts. The murder of June and Royston was the only such crime of recent years.
But maybe the confession was false, like those made by the Bristol psychiatric patients at the time. Without any details, Hyatt Williams's revelation was cruel.
Should the Home Secretary Henry Brooke insist the confession be made public? Questions were asked in Parliament and Labour demanded an official inquiry, but the Home Office distanced itself from the case. Bristol CID approached Hyatt Williams, but he sent this reply: 'I have spent a night with my conscience and I cannot divulge the name of the person concerned.'
Technically, the case is still open. There has been no closure on this horrific episode. And in the West, people still shudder at the memory of that terrible fortnight.
Letters in the press
' I sensed evil of babes' murder ' - 2003
SIR - In June 2002, while visiting my relatives in Bristol, we went for an afternoon stroll at a riverside walk in a large park-type area on the other side of the city.
Having parked, we walked down to the riverside and, within minutes, I started feeling extremely uncomfortable, claustrophobic and totally oppressed by the area. This got worse until I felt what I can only describe as a feeling of pure evil around me. I desperately wanted to leave the place, but felt stupid and unable to explain my feelings. We walked about a mile before I felt less uneasy.
The impression and atmosphere of this place has haunted me for 18 months. I had only ever mentioned this to my husband, and had recently decided to ask my relatives in Bristol if they could do some research of that area to find out if anything bad had happened there. Perhaps it had slaves working on the river, as it was obviously part of a large estate years ago. To my utter amazement, I opened my Western Daily Press on December 9 and saw the article about the murder of the 'babes in the wood' 46 years ago at Snuff Mills Park, and their burial on the riverbank.
It was the very place we had taken our walk and I had seemingly sensed its awful history. Thank you for helping to solve my problem. I do think that, on that day, I had sensed the pure evil of that awful event. Now at last I know the possible reason for it.
'Memories of the murder'
There was panic among the young parents on the Oldbury Court Estate and surrounding area. All us youngsters - there were hundreds of us due to the post-war baby boom - were lectured over and over about not talking to strangers.
Vassalls Park through to Snuff Mills was our adventure area. We would spend hours playing in the shallows where the stream enters the river Frome on the edge of Bamboo Island. In fact, we played anywhere along the river up and into Snuff Mills. After this incident took place - and the lack of apprehension of the murderer - we were told not to go there alone. This was drummed into me so much that to this day, on a visit to Snuff Mills, I always mention the murder to whoever I am with.
It was the talking point at school and on the street, with some lads giving graphic details of what they thought the bodies would be like. I would have nightmares. We were told that it was a mental patient from Glenside/Stoke Park hospitals who had done it, but that they could not be identified.
Going to Snuff Mills for a picnic with the family was never the same and we tended to stay in the 'safety' of Vassalls Park. But as time passed, we children gradually went back to playing in the area as before - but we were ever-cautious about strangers and a little on edge. We tended to play in larger groups.
This was an event which will forever be engraved in my memory - just like the later plane crash near Ovendale Road. No one who is my age and who lived at Oldbury Court will ever forget either.
Never forgotten: Royston and June Sheasby were killed near Snuff Mills nearly 50 years ago - but no one was ever charged with their murder.
©AVucha 2015
On Friday, August 28th at 9:53am, the Richmond Township Fire Protection District responded to the intersection of Rt. 173 and Keystone Rd. for a two vehicle, t-bone style, accident involving a dump truck. Fire crews required heavy extrication equipment to free the driver, who was subsequently flown via Flight For Life to Advocate Condell Medical Center in Libertyville. Preliminary investigations indicated the small Dodge sedan was traveling northbound on Keystone Rd. when the driver proceeded through the intersection and got struck on the passenger side by a dump truck traveling westbound on Rt. 173. The driver of the truck was evaluated on scene but did not require any medical attention. The driver of the sedan is being identified only as a teenager. The accident is under investigation by the McHenry County Sheriff's Office.
This photograph is being made available only for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial material, advertisements, emails, products, promotions without the expressed consent of Alex Vucha. For inquiries: avuchanewsphotos@hotmail.com
The PantherPalooza Student Involvement Fair was held on the Library Quad on August 30, 2022. (Dominic Baima)
On a cold and Wintery Tuesday night, Bistro Vue was fully booked, with a private function occupying half the restaurant.
As the dining room began to fill, an accordian player started playing, adding to the ambience.
The menu was typically French, although the current specials seem to all involve curry of one form or another.
We ordered 3 hors d’oeuvres (starters) and 2 entrees (mains), in the hope that we would have enough room for the chocolate souffle!
The clam gratinée was a nice start. Although the clams weren't very meaty, the flavours of the sea combined with dollops of tomato, garlic and parsley and a light sprinkling of cheese was probably the best tasting grilled clams I've had! The little micro-coriander and drizzle of basil oil made the dish colourful too!
Next up were the posh-sounding Poulet et escargot en rouleaux. In other words, chicken spring rolls with snails! :P We couldn't quite work out if there were any snails in the spring rolls themselves, but the chicken was light and the pastry skin was crunchy and not greasy. It was served with 2 escargot in a curry sauce, which seemed a bit out of place. We were also given a small pot of curry sauce for the spring rolls, but that seemed unnecessary as well.
The 2-hour poached eggs were quite a treat! Visually playful, 3 eggs were served in an egg carton, with 6 halved egg shells holding the yolks and a mushroom jus and air. The confit egg yolks were unimaginably creamy and went very well wild mushroom purée and the fingers of toast! It's an amazing combination. We followed that with the mushroom jus which was like a strong beef consomme.
After a short rest, our mains arrived. The grilled skate was a simple piece of fish with slightly crisped edges and a moist center. The naturally sweet, garlicky fresh pea puree balanced out the saltiness of the fish. The accompanying scalloped potato were waxy and fragrant with butter. Yum!
We also got a duck dish, with a slow-roasted duck breast that was tender and juicy. However, the confit duck leg was a bit over-seasoned, but very flavoursome. The braised cabbage went some way to temper the salt, but we had to order more of the warm mini baguettes to help calm our tastebuds.
When asked if we'd liked dessert, we knew we did! We ordered the chocolate souffle and some coffees.
The souffle was accompanied with some theatrics! Before I could take a photo, our waitress stabbed it with butter knife and proceded to make a hole. She then poured a jug of hot chocolate into the hole, finishing by drizzling some over the top. The souffle was very light and fluffy, almost too light, giving it the texture of beaten egg whites that hadn't had time to firm up. Tastewise, the souffle wasn't as intensely chocolatey and we'd like, but still very good. After the dessert, we all agreed that the lightness was a welcome end to a good dinner!
Bistro Vue
430 Little Collins St Melbourne 3000
(03) 9691 3838
vuedemonde.com.au/bistro-vue.aspx
- Bistro Vue - Dani Valent, Reviewer - January 22, 2007
- Bistro Vue - John Lethlean, Reviewer - February 12, 2007 - 14/20
Home repair involves the diagnosis and resolution of problems in a home, and is related to home maintenance to avoid such problems. Many types of repairs are "do it yourself " (DIY) projects, while others may be so complicated, time-consuming or risky as to suggest the assistance of a qualified handyman, property manager, contractor/builder, or other professionals. Repair is not necessarily the same as home improvement, although many improvements can result from repairs or maintenance. Often the costs of larger repairs will justify the alternative of investment in full-scale improvements. It may make just as much sense to upgrade a home system (with an improved one) as to repair it or incur ever-more-frequent and expensive maintenance for an inefficient, obsolete or dying system. For a DIY project, it is also useful to establish limits on how much time and money you're willing to invest before deciding a repair (or list of repairs) is overwhelming and discouraging, and less likely to ever be completed.
Worn, consumed, dull, dirty, clogged
Repairs often mean simple replacement of worn or used components intended to be periodically renewed by a home-owner, such as burnt out light bulbs, worn out batteries, or overfilled vacuum cleaner bags. Another class of home repairs relates to restoring something to a useful condition, such as sharpening tools or utensils, replacing leaky faucet washers, cleaning out plumbing traps, rain gutters. Because of the required precision, specialized tools, or hazards, some of these are best left to experts such as a plumber. One emergency repair that may be necessary in this area is overflowing toilets. Most of them have a shut-off valve on a pipe beneath or behind them so that the water supply can be turned off while repairs are made, either by removing a clog or repairing a broken mechanism.
Broken or damaged
Perhaps the most perplexing repairs facing a home-owner are broken or damaged things. In today's era of built-in obsolescence for many products, it is often more convenient to replace something rather than attempt to repair it. A repairman is faced with the tasks of accurately identifying the problem, then finding the materials, supplies, tools and skills necessary to sufficiently effect the repair. Some things, such as broken windows, appliances or furniture can be carried to a repair shop, but there are many repairs that can be performed easily enough, such as patching holes in plaster and drywall, cleaning stains, repairing cracked windows and their screens, or replacing a broken electrical switch or outlet. Other repairs may have some urgency, such as a broken water pipes, broken doors, latches or windows, or a leaky roof or water tank, and this factor can certainly justify calling for professional help. A home handyman may become adept at dealing with such immediate repairs, to avoid further damage or loss, until a professional can be summoned.
Maintenance
Periodic maintenance also falls under the general class of home repairs. These are inspections, adjustments, cleaning, or replacements that should be done regularly to ensure proper functioning of all the systems in a house, and to avoid costly emergencies. Examples include annual testing and adjustment of alarm systems, central heating or cooling systems (electrodes, thermocouples, and fuel filters), replacement of water treatment components or air-handling filters, purging of heating radiators and water tanks, defrosting a freezer, vacuum refrigerator coils, refilling dry floor-drain traps with water, cleaning out rain gutters, down spouts and drains, touching up worn house paint and weather seals, and cleaning accumulated creosote out of chimney flues, which may be best left to a chimney sweep.
Examples of less frequent home maintenance that should be regularly forecast and budgeted include repainting or staining outdoor wood or metal, repainting masonry, waterproofing masonry, cleaning out septic systems, replacing sacrificial electrodes in water heaters, replacing old washing machine hoses (preferably with stainless steel hoses less likely to burst and cause a flood), and other home improvements such as replacement of obsolete or ageing systems with limited useful lifetimes (water heaters, wood stoves, pumps, and asphaltic or wooden roof shingles and siding. The use of another cost effective and convenient alternate to siding, the faux stone, has also been trending.
Often on the bottom of people's to-do list is home maintenance chores, such as landscaping, window and gutter cleaning, power washing the siding and hard-scape, etc. However, these maintenance chores pay for themselves over time. Often, injury could occur when operating heavy machinery or when climbing on ladders or roofs around your home, so if an individual is not in the proper physical condition to accomplish these chores, then they should consult a professional. Lack of maintenance will cost more due to higher costs associated with repairs or replacements to be made later. It requires discipline and learning aptitude to repair and maintain the home in good condition, but it is a satisfying experience to perform even seemingly minor repairs.
On Scene of a Injury Accident Involving a Olathe Police Department Vehicle at Harrison Street and Dennis Avenue in Olathe on January 31, 2015 at 2050 hours.
Picture ID# 6546
Police investigate the scene Saturday, Feb. 4, 2006, in Norfolk, Ark., following a chase and shooting involving the suspect in the Thursday morning attacks at a gay bar in New Bedford, Mass. The suspect, Jacob D. Robida, 18, of New Bedford, Mass., wrecked his car after a nearly 30-mile chase and was wounded in a shootout with Arkansas State Police and Baxter County deputies. Robida is suspected of shooting and killing Gassville, Ark., Police officer John Sell during a traffic stop. A woman with Robida was killed. (AP Photo/Baxter Bulletin, Armando Rios) ORG XMIT: ARMOU103 ORG XMIT: MER1601201205073371
Night at the Museum - Came with a wildlife trainer and a presentation involving wild animals like this bird of prey.
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Camera: Sony A7S | Lens: Zeiss Vario-Tessar T* FE 24-70mm F4 ZA OSS
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The museum started having sleepovers for children and their parents around a decade ago. But it wasn't until last week that the museum decided to host its first ever "sleepover for grownups".
The allure of an adults-only sleepover was strong, of course. The sleepover's tickets sold out within the first three hours that they were up for sale.
I was fortunate enough to be one of the 150 adults who got to attend the sleepover. It was a fascinating night.
It was also the first night that I used the Sony A7S. I knew that the low-light capabilities would be exceptional but it was so strange to be able to crank the ISO all the way up without dealing with tons of noise. In fact, in retrospect, I held back a little too much at times!
If you are curious about the night, I have a written post about it along with a photo-set over at my blog:
Museum of Natural History - First Ever Sleepover for Adults
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A GOD VICTORIOUS JOURNEY Part 1 of 2
by Patricia Diane Cota-Robles
Every time I am blessed with the awesome gift of participating in a facet of the unfolding Divine Plan involving the Company of Heaven and dedicated Lightworkers from around the world, I know without question that this blessed planet and ALL her Life are going to succeed in our Ascension in the Light. Our Pilgrimage to the sacred sites along the Mediterranean Sea and the South of France confirmed this Truth for me.
The reality is that the miracles that took place during our Pilgrimage transcend what can be expressed in words, but I will do my best to share with you the events of our journey. There were 103 pilgrims who physically joined us on this trip. We were all very aware that there were also thousands of Lightworkers joining with us in consciousness. We held each and every one of you securely in the Divinity of our hearts, and we reveled in the loving support that we received from around the world.
To understand the importance of this mission, I would like to briefly share with you why our Father-Mother God sent forth the Clarion Call for assistance from embodied Lightworkers in this endeavor.
We are at a critical turning point in the evolution of this sweet Earth. In order for us to accomplish the next step in our evolutionary process, we must reverse the adverse effects of Humanity’s fall from Grace. This process involves bringing into balance the Divine Masculine and the Divine Feminine Polarities of God within every person’s Heart Flame. It also involves preparing every Heart Flame and the physical, etheric, mental and emotional bodies of each soul, to withstand the 5th-Dimensional frequencies of our I AM Presence, our true God reality.
Prior to the fall, the Masculine and Feminine Polarities of our Father-Mother God were balanced within every person on Earth. The Masculine Polarity of our Father God activated our left-brain hemispheres and radiated into the physical plane through the power center of our Throat Chakras. This frequency of Divine Light radiated as a sapphire blue Flame of Power within the Immortal Victorious Threefold Flame in our hearts. The Feminine Polarity of our Mother God activated our right-brain hemispheres and radiated into the physical plane through the love center of our Heart Chakras. This frequency of Divine Light radiated as a crystalline pink Flame of Love within the Threefold Flame in our hearts.
These two perfectly balanced polarities of our Father-Mother God then merged into one powerful Violet Flame. This Sacred Fire blazed through our brains and awakened our spiritual brain centers to their full Divine Potential. These centers consist of our pituitary, pineal, hypothalamus glands and the ganglionic centers at the base of our brains.
With the Masculine and Feminine Polarities of God balanced within our brains and our spiritual centers activated to their full potential, our Crown Chakras of Enlightenment opened to full breadth birthing the Son or Daughter of God, The Christ or Christ Consciousness, within every person. This frequency of Divine Light radiated as a golden-yellow Flame of Enlightenment within the Threefold Flame in our hearts.
The Immortal Victorious Threefold Flame pulsating in every heart is the physical expression of the Holy Trinity in the world of form. In order for a Son or Daughter of God to exist, this blue, pink and gold Flame, representing the Power, Love and Wisdom of our God Parents and Their Beloved Child, must be present within the heart. In order for a Son or Daughter of God to reach his or her full Divine Potential, however, the Threefold Flame must not only exist it must be balanced. This means the perfect balance of our Father God’s Power and our Mother God’s Love, which is better known as the Holy Spirit. Through this balance, the Beloved Child of God—The Christ—is birthed within every person.
In our evolutionary process, there came a point in time when the Sons and Daughters of God evolving on Earth made the free-will choice to use our gift of Life in ways that conflicted with God’s Will. Through our thoughts, words, actions and feelings, we created gross mutations of the patterns of perfection pulsating within the Causal Body of God. These human miscreations began manifesting on Earth as aging, decay, disease, lack and limitation, fear, war, violence, corruption, inclement weather conditions, cataclysmic Earth changes and every other malady existing on Earth today.
In a futile attempt to keep ourselves from feeling so much pain, we closed our Heart Chakras to try to block our ability to feel. This fateful decision closed the portal through which our Mother God radiated Her Love into the physical plane. This forced our Mother God to withdraw to a mere trickle of Her original Divine Potential. Without the balance of our Mother God’s Divine Love, our right-brain hemispheres became almost dormant. This caused our spiritual brain centers to atrophy and our Crown Chakras of Enlightenment to close. We lost contact with The Christ within. We forgot that we are Beloved Children of God, and we lost awareness of the fact that all our Father-Mother God has is ours.
For aeons of time, we have been buried in the effluvia of our human miscreations. Age after Age enlightened Beings, Avatars, Buddhas and Adepts have embodied to try to awaken Humanity to the Truth of who we are and why we are in this Earthly school of learning. Progress has been painfully slow, often nonexistent.
Finally, a little over 2,000 years ago, during the inception of the Piscean Age, a plan was set into motion to anchor the archetypes for Humanity’s pathway back to Christ Consciousness. This plan, much like what is occurring now at the dawn of the Aquarian Age, involved embodied Lightworkers working in unison with the entire Company of Heaven.
The plan was for two willing representatives of our Father-Mother God to embody on Earth to cocreate the matrix of Divine Balance for the Masculine and Feminine Polarities of our Father-Mother God. This matrix was to be created by these two soul’s modeling the path of Divine Love that would open the Heart Chakra and allow the return of our Mother God through the Baptism of the Holy Spirit.
The souls chosen to accomplish this monumental feat were Beloved Jesus and his Divine Complement or Twin Flame, Beloved Mary Magdalene. Jesus in his full capacity as a Son of God volunteered to anchor the matrix for the Divine Masculine, and Mary Magdalene in her full capacity as a Daughter of God volunteered to anchor the matrix for the Divine Feminine.
To herald the coming of the these two resplendent Beings, and to bring the Divine Ceremony that would initiate their mission, the Being we know as John the Baptist volunteered to embody on Earth.
Jesus and Mary Magdalene descended to Earth together and began the preparation for their sacred mission. This was not an easy task. The fragmented, fear-based human ego, which developed when Humanity closed our Heart Chakras, thus preventing our power from being balanced with love and reverence for Life, has been fighting tooth and nail for millennia to try to block the return of our Mother God. This manipulative faction of our fallen personality was not going to give up its control of our lives easily.
Jesus and Mary Magdalene knew that the fallen consciousness of Humanity was not going to allow people to immediately grasp the opportunity to balance the Masculine and Feminine Polarities of God within their hearts. In fact, they knew that it would be centuries before we really understood what they were trying to teach us. That is why in Revelations Jesus says to John the Beloved ,“In the Day of the Seventh Angel, when he begins to sound, the mystery of God will be fulfilled and time will be no more.”
During the Piscean Age, the 6th Solar Aspect of Deity was the predominant influence. Now, during the Aquarian Age, the 7th Solar Aspect of Deity is the predominant influence. This is the Day of the Seventh Angel, and he is beginning to sound.
Jesus said that the voice of the 7th Angel would proclaim the time of the Second Coming of The Christ. This heralds the return of Christ Consciousness within every man, woman and child. This will occur through the return of our Mother God and the Baptism of the Holy Spirit, the Baptism by Sacred Fire.
In spite of the overwhelming resistance, Jesus and Mary Magdalene accomplished their mission and anchored the matrix for the balance of the Divine Feminine and Masculine Polarities of God within every evolving soul’s Heart Flame. This occurred whether a person was in or out of embodiment or if the soul was from the past, present or future.
After Jesus’ crucifixion, Resurrection and Ascension plans were set into motion to protect Mary Magdalene from the wrath of the people who were still resisting the return of our Mother God. The Essene Brotherhood and Sisterhood, along with Mother Mary, Joseph of Arimathea, John the Beloved and some of the other disciples, guarded Mary Magdalene and the daughter she and Jesus had conceived.
Mary Magdalene was over-Lighted by the Company of Heaven and safely guided to various locations on the planet where she was able to anchor the matrix for the Divine Balance of our Mother God into the body of Mother Earth. This prepared the way for the coming of the Seventh Angel and the day when he would begin to sound, when our Mother God would at last reclaim Her rightful place within the hearts of the Children of God. This would be a time when Christ Consciousness would once again be birthed into the hearts and minds of Humanity.
The Truth about Mary Magdalene’s mission and the fact that she was anchoring the matrix for the return of our Mother God was cloaked in secrecy to conceal the plan from the masses and to prevent the plan from being blocked through the abuse of power being wielded by Humanity’s patriarchal human egos.
Her protectors were well aware of her mission, and after her Ascension they steadfastly held the Immaculate Concept for the return of our Mother God. These selfless exponents of God’s Will formed mystery schools and passed the information on in veiled and mysterious symbols that could not be deciphered by the common man or woman.
The newly formed Christian churches had difficulty blocking the groundswell of information that kept surfacing in mysterious ways about Mary Magdalene and her relationship with Jesus, her Beloved Twin Flame. Various Gospels were being circulated, which gave conflicting accounts of what really occurred during the pageantry and the founding of the Christian Dispensation.
In 325 AD, the Roman Emperor Constantine I decided that the confusion in the Christian doctrine needed to be stopped and that the various factions needed a unified belief system. He called a meeting of over 300 bishops and organized what has been noted as the first Ecumenical Council. This was the Council of Nicaea.
During this gathering he denounced Arianism, which was founded by the theologian Arius. These teachings taught that Jesus was a Son of God, as are all the Children of Earth. He reiterated that God is within every person, and that people do not need to depend on Human Beings outside of themselves in order to communicate with God or to receive God’s Forgiveness.
This belief system interfered greatly with the power and control of the priesthood and the Church, so Constantine ordered Arius to cease and desist in teaching such heresy. At the end of the gathering Constantine ordered a vote, and all but three bishops signed the Nicaean Creed forbidding Arianism.
Constantine felt this vote of support gave him the right to proceed with his mission. He gathered the 48 gospels that were being circulated amongst the various factions of the Church. He went through all of them carefully and selected only the four gospels that indicated that Jesus was Divine—above all other Human Beings. These four gospels were unnamed, as were many of the 48 gospels. Constantine made the executive decision to name the gospels he chose to be included in the Bible: Matthew, Mark, Luke and John.
He then proceeded to go through the rest of the teachings in the Bible. In order to maintain the supreme power of the Church and the patriarchal priesthood, he removed any reference to the relationship between Mary Magdalene and Jesus, as well as any reference he could identify regarding reincarnation. Constantine’s actions redefined the status of Christianity, and formed the basis for the Bible used today throughout the Christian world.
Even with this obvious betrayal of the Truth, the mission of Jesus and Mary Magdalene could not be suppressed. To the total consternation of the Church, the reality of their spiritual and intimate relationship kept surfacing. One by one, the seekers of Truth were guided to the mystery schools and secret societies. Little by little, they learned about the sacred mission of Jesus and Mary Magdalene.
In 590 AD, Pope Gregory I had had enough and was determined to once and for all put an end to this threat to the patriarchal supremacy of the Church. With the stroke of the pen, Pope Gregory I declared Mary Magdalene to be a prostitute and asserted that she was seething with seven evil spirits. This was the very first time that Mary Magdalene was said to be a prostitute. That unconscionable lie was written nearly 600 years after her embodiment. As far as the Church was concerned, this concocted story squelched the rumors about Jesus and Mary Magdalene’s marriage.
In order to maintain a semblance of damage control, the Church leaders tried to transfer the attention from Mary Magdalene to Jesus’ Mother, the Virgin Mary. This was a futile effort in their attempt to block the return of our Mother God, because Beloved Mother Mary was an important Aspect of the Divine Feminine herself.
As the forerunners of the Divine Feminine progressed through those tumultuous times, Mother Mary protected the Truth about Mary Magdalene by holding the exoteric focus of the Divine Mother. At the same time, Mary Magdalene continued her mission of preparing the way for the return of our Mother God through esoteric circles and her teachings within the sacred mystery schools and secret societies.
For centuries, the Immaculate Concept of Mary Magdalene’s Divine Mission with Beloved Jesus was guarded from the outer world by her valiant protectors. With unfailing tenacity, these selfless souls prepared for the Day of the Seventh Angel when the return of our Mother God would be brought to fruition.
Throughout history there are bits and pieces of information regarding the souls fulfilling the service of protecting the mission of Mary Magdalene and Jesus, but most of them are terribly distorted and contaminated with misinformation from the patriarchal Church. The groups most noteworthy in this mission were the Essenes, the Druids, the Cathars and the Knights Templar.
Within the historic documentations of England, Spain, France and places throughout the Mediterranean, the mystical stories of the Essenes, Druids, Cathars and the Knights Templar can still be found. The most blatant proof of the Church’s attempt to suppress the secret knowledge of the Divine Feminine is revealed in the accounts of the horrific persecution and the brutal demise of these dedicated Lightworkers during the Crusades and the Inquisition.
Since the dawning of the Aquarian Age, which took place a few decades ago, Lightworkers have been making Pilgrimages to the areas where these atrocities took place. The intent of these Pilgrimages was to transmute the Etheric Records of the pain and suffering involved in protecting the Truth of the return of our Mother God. This purification was an important facet of the Divine Plan that had to be completed before the blocked Heart Meridian within the body of Mother Earth could be reopened. This Heart Meridian is the portal through which the completion of Mary Magdalene and Jesus’ Divine Mission will be fulfilled. It is the portal through which the Divine Balance of the Masculine and Feminine Polarities of God will be reactivated in the body of Mother Earth.
That brings us to our recent Pilgrimage. To signal to the world that the purification of the past had been completed and that all was in readiness for the next phase of the Divine Plan, an amazing outer-world event took place. On October 13, 1307, the Knights Templar throughout France were arrested and placed in prisons where they were tortured and eventually died. This was a massive endeavor orchestrated by the Inquisition to prevent the Knights from revealing the secret of Mary Magdalene and the Divine Feminine.
On October 13, 2007, exactly 700 years later, the Vatican revealed that it had found some 800-year-old documents from the Knights Templar, which had mysteriously been misplaced. The Vatican said that the documents would be released to the world, and they apologized for their transgressions.
In this monumental year of completion, this veiled message from the Church asking for forgiveness for its past transgressions involving the Knights Templar was broadcast on CNN via satellite throughout the world. As Humanity focused our attention on this message, the transmutation of the atrocities of the past was brought to completion. This event occurred the day before our glorious Pilgrimage began.
We had been told by our Father-Mother God that the time for the opening of the blocked Heart Meridian in the body of Mother Earth had come. This is the meridian that the Essenes, Druids, Cathars and Knights Templar and been protecting over centuries of time in preparation for the return of our Mother God. This was the same meridian along which Mary Magdalene anchored the matrix for the Divine Balance of the Masculine and Feminine Polarities of God in the years following Jesus’ Ascension.
Our God Parents said that those of us who were motivated by our Heart’s Call to make the sacrifice of our time, energy and money to accomplish this mission, had made this Pilgrimage again and again over centuries of time. They told us that the ancient footsteps we would be walking in were our own.
On October 14, 103 pilgrims from 15 countries began the journey to Barcelona, Spain. We arrived on October 15, and after settling into our hotel we gathered for a group dinner. During that time, Archangel Raphael Consecrated each of our Earthly Bodies and lifted us into a frequency that would allow us to be the most effective conductors of Light possible. We were each given a sacred necklace with a symbol of the open Heart of the Divine Feminine to wear during our holy adventure.
On October 16, we had breakfast together and loaded the busses for a tour of Barcelona. Barcelona has over 2,000 years of history. It became a Roman colony in 133 BC. Many of the churches and cathedrals in Barcelona are dedicated to various female Saints, but the grandest of them all is dedicated to the Holy Family: Mary, Joseph and Jesus. These are the Beings in the Christian Dispensation who represent the Divine Father, the Divine Mother and the Holy Child of God, The Christ. They are the representatives of the Sacred Fire, the Holy Trinity, blazing in every person’s heart.
This magnificent edifice is called the Temple of the Sagrada Familia. One facet of the structure is called the Central Portal of Birth. Two colossal domes are dedicated to the Virgin Mary and Jesus, The Christ, respectively. This is an example of the outer-world service of Mother Mary in which she is standing in for the esoteric mission of Mary Magdalene.
In the sacred endeavor of building this Temple, the architect, Antoni Gaudi, created a staggering sense of verticality, a meeting point between Heaven and Earth, God and Humanity.
After our tour of Barcelona, we progressed to the dock to board our beautiful cruise ship to begin our Pilgrimage through the Mediterranean. In Ages past, the Pilgrimage we were embarking on to the various positions along the Heart Meridian of Mother Earth was an arduous and dangerous feat. In this day and age, the trip is made by millions of travelers every year on luxurious cruise ships. This is not by chance. Divine Intervention has played an important part in this phenomenon.
The Beings of Light from the Realms of Truth set the tone for our adventure. They revealed to us that the collective body of Lightworkers present on this Pilgrimage represented the microcosm of the macrocosm of Humanity. They said that our collective life experiences through all of our Earthly sojourns contained a fragment of the Earthly experience of every evolving soul on Earth. We were told that the Etheric Records of the painful experiences of the past were now transmuted, and our mission was to serve as surrogates on behalf of all Humanity as we anchored the archetypes for the New Earth. We were also asked by our Father-Mother God to serve as acupuncture needles along the Heart Meridian of Mother Earth.
Our guidance from On High was to focus on the Immaculate Concept of Heaven on Earth, as we opened the Heart Meridian and cleared the way for the Divine Balance of the Masculine and Feminine Polarities of God within Humanity and the body of Mother Earth.
The Company of Heaven perceived our sense of awe and assured us that we already had everything we needed within our Beings to accomplish our individual facets of this Divine Plan. We were told that each of us had been preparing for lifetimes for this Cosmic Moment, so as one unified Heart Flame we released any feelings of doubt or inadequacy and invoked our I AM Presence to take full dominion of our thoughts, words, actions and feelings.
The Company of Heaven asked that during our trek through the Mediterranean, we not organize any group tours involving all of the 103 people on this mission. Instead, we were each instructed to listen to our inner guidance and to participate individually in the available tours and opportunities that resonated in our heart of hearts. The end result of this plan was that our group traversed each location north, south, east and west. This enabled us to cover the gamut of each acupuncture point along the Heart Meridian of Mother Earth.
On October 17, we reached the Isle of Mallorca in the Bay of Palma. The first settlers came to this island around the 5th century BC. Most of them came from the South of France. In the year 123 BC, Mallorca came under Roman rule.
One of the most important and emblematic monuments on this island is the Cathedral of Mallorca. It was the custom in medieval times to dedicate the first churches built in towns reconquered from “the pagans” to Jesus or Mother Mary. In Mallorca, which is an important point along the Heart Meridian of Mother Earth and thus a facet of the portal for the return of our Mother God, the cathedral was dedicated to Mother Mary.
August 15, the day celebrated as Mother Mary’s Ascension Day, is the local Feast Day. The devotion to Mother Mary, the Divine Mother, is reflected throughout the history of the cathedral and the works of art contained within it. The cathedral adopted as its seal the Throne of Mary on the waves. The water element represents the Emotional Body and the feeling nature of our Mother God.
Maybach has historic roots through the involvement of Wilhelm Maybach, who was the technical director of the Daimler-Motoren-Gesellschaft (DMG) until he left in 1907. On 23 March 1909 he founded the new company, Luftfahrzeug-Motorenbau GmbH (literally "Aircraft Engine Building Company"), with his son Karl Maybach as director. In 1912 they renamed it to Maybach-Motorenbau GmbH ("Maybach Engine Construction Company"). The company originally developed and manufactured diesel and petrol engines for Zeppelins, and then rail cars. The Maybach Mb.IVa was used in aircraft and airships of World War I.
Captured Maybach T3 Assault Gun (Sturmgeschütz III), made on the basis of medium tank Maybach T3 (Panzer III). National Museum of Military History (Bulgaria)
The company first built an experimental car in 1919, with the first production model introduced two years later at the Berlin Motor Show. Between 1921 and 1940, the company produced various classic opulent vehicles. The company also continued to build heavy duty diesel engines for marine and rail purposes. During the second world war, Maybach produced the engines for Nazi Germany's medium and heavy tanks.
After WW II the factory performed some repair work, but automotive production was never restarted, and some 20 years later, the company was renamed MTU Friedrichshafen. Daimler-Benz purchased the company in 1960.
Pre-war Models
1919 Maybach W1: Test car based on a BMW chassis
1921 Maybach W3: First Maybach, shown at Berlin Motor Show. Featured a 70 hp (52 kW) 5.7L inline six.
1926 Maybach W5: 7L inline six, 120 hp (89 kW)
1929 Maybach 12: V12 precursor to DS7/8
1930 Maybach DSH: Doppel-Sechs-Halbe ("half a twelve cylinder") 1930-37
1930 Maybach DS7 Zeppelin: 7L V12, 150 hp (112 kW)
1931 Maybach W6: Same engine as W5, longer wheelbase. 1931-33
1931 Maybach DS8 Zeppelin: 8L V12, 200 hp (150 kW)
1934 Maybach W6 DSG: Featuring a twin overdrive transmission system.
1935 Maybach SW35: 3.5L 140 hp (104 kW) I6
1936 Maybach SW38: 3.8L 140 hp (104 kW) I6
1939 Maybach SW42: 4.2L 140 hp (104 kW) I6
1945 Maybach JW61: 3.8L 145 hp (108 kW) I6
(Wikipedia)
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Der erste Maybach von 1919 war ein Prototyp, der „Wagen“ W 1, aufgebaut auf ein angekauftes Daimler-Chassis. Er trug schon die charakteristische Kühlermaske. W 2 war ein Motor. Der W 3 war 1921 der erste Serienwagen, mit Sechszylinder-Reihenmotor und angeblocktem Planetengetriebe, im Angebot als Typ 22/70 PS. Die erste Zahl bezeichnet die früheren „Steuer-PS“, eine vom Fiskus seit 1909 aus Leistung und Hubraum errechnete Kennzahl; die zweite die Motorenleistung.
1926 folgte W 5 als Typ 27/120 PS, der 1928 ein Schnellgang-Getriebe erhielt und daher W 5 SG hieß. 1930 kam, parallel zum „Zeppelin“, der W 6, den es ab 1934 auch mit Doppel-Schnellgang-Getriebe gab und so als W 6 DSG in den Annalen steht. Die Weiterentwicklung von 1934 war ein DSH, ein „Doppel-Sechs-Halbe“, was auf den 130 PS starken 5,2-Liter-Reihensechszylinder hinwies, eine vom „DS“-Zwölfzylinder abgeleitete, einfachere Konstruktion.
Die Zeppelin-DS-Modelle, von Karl Maybach 1930 erstmals offeriert und ab 1931 geliefert, gab es als Typen DS 7 und DS 8. Es waren die ersten Modelle von Maybach mit einem V-12-Motor. DS 7 bedeutet Doppel-Sechs-7-Liter. DS 8 bedeutet Doppel-Sechs-8-Liter. Der DS 7 leistete 150 PS. Der DS 8 leistete 200 PS. Er war mit einem 7922 Kubikzentimeter großen Motor ausgerüstet. Die Aufbauten lieferten Spohn und Erdmann & Rossi. Im Vergleich zum 1931 gebauten Bugatti Royale Typ 41 mit einem Preis von 100.300 Reichsmark war die Karosserie vom Zeppelin DS 8 geradezu günstig: 33.200 Reichsmark.
Maybach W 1, Versuchswagen, um 1919
Maybach W 3, 5,7 l Hubraum, 70 PS, ab 1921
Maybach W 5, 7 l Hubraum, 120 PS, 1926–1929
Maybach W 6, ab 1929
Maybach SW 35 (SW = Schwingachsenwagen), 3,5 l Hubraum, ab 1935 nur 50 Exemplare gebaut
Maybach SW 38, 3,8 l Hubraum, um 1936–1939
Maybach SW 42, 4,2 l Hubraum, um 1939–1941
Maybach „Zeppelin“ Sport, um 1938
Maybach „Zeppelin“ DS 8 Cabriolet, 1930–1937, sechs- bis siebensitzig
(Wikipedia)
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.
The Sheikh Zayed Grand Mosque (Arabic: جَامِع ٱلشَّيْخ زَايِد ٱلْكَبِيْر Jāmiʿ Aš-Šaykh Zāyid Al-Kabīr) is a mosque located in Abu Dhabi, the capital city of the United Arab Emirates. It is the country's largest mosque, and is the key place of worship for daily Islamic prayers. There is a smaller replica of this mosque in Surakarta, a city in Indonesia. The late Sheikh Zayed bin Sultan Al Nahyan built this mosque to convey historic consequence and to embody the Islamic message of peace, tolerance and diversity.
The Grand Mosque was constructed between 1994 and 2007 and was inaugurated in December 2007. The building complex measures approximately 290 by 420 m (950 by 1,380 ft), covering an area of more than 12 hectares (30 acres), excluding exterior landscaping and vehicle parking. The main axis of the building is rotated about 12° south of true west, aligning it in the direction of the Kaaba in Mecca, Saudi Arabia.
The project was launched by the late president of the U.A.E., Sheikh Zayed bin Sultan Al Nahyan, who wanted to establish a structure that would unite the cultural diversity of the Islamic world with the historical and modern values of architecture and art. In 2004, Sheikh Zayed died and was buried in the courtyard of the mosque.
Sheikh Zayed Grand Mosque Center (SZGMC) offices are located in the west minarets. SZGMC manages the day-to-day operations and serves as a center of learning and discovery through its educational cultural activities and visitor programs. The library, located in the northeast minaret, serves the community with classic books and publications addressing a range of Islamic subjects: sciences, civilization, calligraphy, the arts, and coins, including some rare publications. The collection comprises material in a broad range of languages, including Arabic, English, French, Italian, Spanish, German, and Korean. For two years running, it was voted the world's second favourite landmark by TripAdvisor.
The Grand Mosque has been a significant destination for visiting foreign leaders during official state visits to the UAE. Notable visitors include Indian Prime Minister Narendra Modi.