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Maybe there is someone lucky out there
Maybe there is someone stupid out there
BUT
im sure that there is someone learn his lesson
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Drain the swamp, dam the lake, kill the rivers.
The nutrient rich organic muck soils around Lake Okeechobee are known locally as "black gold." This is the stuff that fuels the sugarcane industry.
But all that sweetness comes at a price.
The drainage of the sawgrass swamp to convert it into farmland has overloaded the Lake Okeechobee ecosystem with excess nitrogen and phosphorus; and the dried-out organic soil is disappearing fast due to subsidence, wildfires and oxidation.
When water is discharged from the lake to control flooding, the gates that release water open from the bottom, and the accumulated, polluted muck sediments are wreaking havoc in local estuaries.
Fixing the problem involves jump-starting backlogged Everglades restoration projects that would store and clean up stormwater; redirecting more of it to the Everglades instead of out to sea. But those multibillion-dollar efforts come at a steep cost to taxpayers and will take decades to complete.
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.
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Many women deal with skin problems that are the major reasons behind their low confidence. Some of these problems are uneven skin tone, acne scars and dark circles around the eyes. Different products are available in the market for all customers to try. In fact, it is possible for you to purchase skin lightening innovations in different forms. These may appear in the form of pills, face masks or the common whitening cream. Skin bleaching products are cheaper than treatments offered in derma-aesthetic centers.
What can you do to your skin?
Changing bad habits can show big differences if you want to improve your skin. Note that your present lifestyle can also be the cause of skin imperfections. Drinking enough water can hydrate and moisturize the skin. Quitting smoking can alleviate dark spots. Adequate sleep relieves tired-looking eyes. Wearing sunblock can prevent skin darkening.
Observe your habits closely and determine those that affect your skin the most. These skin imperfections are reversible, and so are their causes. Recent signs of skin imperfections indicate a bad change to your habits. They must be overturned immediately especially if it’s a lack of sleep. This not only gives dark and heavy eyebags but also weakens the immune system.
Good sanitary habit is also a key. Avoid touching your hands with dirty fingers. Stay away from dusty places. Avoid foods that cause skin allergy and itchiness. These are good solutions, but they may not work for everyone. If all these fail, then skin products may be what you need.
What is Skin Bleaching?
Bleaching your skin explained
Skin bleaching is an effective way to even out your skin tone. It works by using chemicals to reduce the melanin in the skin. Melanin is the substance, which gives color and shade to our hair, eyes and skin. The color of the skin is determined by the presence of melanin. The more melanin your skin has, the darker your skin color will be. Skin whitening reduces the amount of melanin in the skin to make it lighter.
Precautions Before you Purchase
The greatest concerns regarding these products are their harsh ingredients. Strong chemicals are used in skin bleaching This should be done by an expert or with the advice of a professional. There are potential risks associated with it. These risks are sometimes not stated in the labels of the products you buy.
Mercury
Skin whitening products may have mercury. This can cause skin illnesses and worse complications. It is also a highly toxic chemical. It can cause neurologic and kidney problems. Worse cases can lead to mercury poisoning. Manufacturing companies can disguise mercury under many names. This is done so the product is sold easier. Its other names can be calomel or mercuric.
Hydroquinone
Another ingredient to watch out for is hydroquinone. This is an extensively strong ingredient. It is commonly present in skin lightening products all over the world. Prolonged and abusive use of this ingredient can cause premature aging. Hydroquinone stops melanin from being reproduced.
If you plan to use products with hydroquinone, then it is necessary to apply sunblock as well. This can protect the skin from being burned. Excessive use of this can cause untreatable skin conditions, such as ochronosis. Hydroquinone is actually recognized as one of the best skin lightening products in the market worldwide. This may be the reason why it is accessible to consumers everywhere.
When buying a skin lightening product, the hydroquinone content shouldn’t be more than 2%. It is best not to purchase products with no accurate information regarding its hydroquinone contents.
Steroids
Some options for bleaching skin cream in the market can also have steroids. Any miscalculation by the product’s manufacturer can cause skin infections. These include acne, blemishes and other skin problems. Anything applied unto the skin will eventually get absorbed into the body. These include creams and beauty products with steroids. Inappropriate use by the consumer can harm or irritate the skin.
Facts about skin bleaching
Bleaching Creams: Proper Use
Professionals will give you different instructions on how to bleach your skin. Procedures can also vary depending on the product. This is commonly based on the product’s potency. Instructions will also depend on the skin type and sensitivity. It may also differ on the body part you wish to bleach. Sensitive areas have thinner skin than the rest of the body. These include the face, neck and armpits. Greater care should be considered when bleaching these areas.
Harsh or strong chemicals can darken them easily. There are also special creams for these body parts while also providing other benefits. A face bleaching cream doesn’t only lighten skin but also moisturizes. This can make the skin look alive and younger. Underarm lightening creams also smoothen chicken skin and limit hair growth.
It’s best to follow prescriptions when buying skin lightening products for the first time. The directions given by dermatologists can’t always be correct. It is best to record your own observations as well. The skin’s reaction to new or certain products should also be noted. Consult the skin specialist about the product’s effects and ask if they are natural.
Some bleaching solutions like hydroquinone give the skin a fiery-red flush. This usually happens a few days before it exfoliates. Light exfoliation is commonly accompanied by a light stingy feeling. This is normal to almost any process involving your skin.
The post Skin Bleaching 101 appeared first on Find The Best Skin Lightening Cream.
[…] le problème pourrait donc se poser comme suit : comment un individu qui a besoin de sens trouve-t-il du sens dans un univers qui en est dépourvu ?
Thérapie existentielle - Irvin D. Yalom
After deciding to have a little meetup at Morton Grove for the Lollapalooza extras as well as the WSOR, the last thing we expected was a locomotive breaking down right at Morton Grove. Before leaving the house, it was mentioned that 2153 experienced a mechanical failure. Whaddiya know, it turns out that METX 403 decided to go kaput in nearly the exact spot that METX 215 decided to light ablaze. The rest was history, with METX 420 towing the train downtown long hood forward.
And the Evobus rep and customer services staff headed straight towards BJ16KXL a Mercedes Benz Tourismo C48FT that had been delivered THIS MORNING....Photo taken Corley services 15/06/16
Photographed here diverting back into Manchester with a technical problem while operating flight LS1761 from Manchester to Agadir, Morocco. Passengers were reaccommodated on A321-211/S G-HLYF and departed mid afternoon with a 5 hour delay.
'Jet2 Holidays' livery.
First flown with the Boeing test registration N1786B, this aircraft was delivered to Hapag-Lloyd Flug as D-AHLX in Feb-01. Blended winglets were added in Mar-02. The aircraft was sold to a lessor in Dec-03 and leased back to Hapag Lloyd.
In Nov-05 Hapag-Lloyd was renamed Hapagfly.com. In Apr-06 It was decided to start a 'low-cost' operation and this aircraft was transferred to Hapag-Lloyd Express. The HLX aircraft were painted like New York taxi's, bright yellow with a black/white chequered cheatline and HLX.com titles (their radio callsign was 'YellowCab').
The operation was later abandoned and the aircraft was repainted into standard TUIfly.com livery in Dec-09. TUIfly returned the aircraft to the lessor in Aug-14 and it was ferried to Shannon, Ireland for storage.
In Oct-14 it was sold to The Dart Group Plc (owners of Jet2.com) and leased to Jet2.com as G-GDFU painted in full Jet2 Holidays livery. The standard winglets were replaced with the 'Split Scimitar' version at Manchester a few days ago (10/15-Nov-25 Current, updated 16-Nov-25.
Five afternoons ago, 22 February 2015, on my way out of Fish Creek Park, an enormous flock of Bohemian Waxwings swarmed around the tall coniferous trees along the edge of the road. Hundreds of them landed at the tops of these trees and then they would swoop down to the snow-covered ground and eat the snow for a few seconds before flying to the other side of the road and back again. "Waxwings often drink water or eat snow in winter, since the sugar in their fruit diet tends to dehydrate the birds through an osmotic effect. In the summer, the fruits are juicier and water is less of a problem" (from Wikipedia).
These Bohemian Waxwings visit us in winter and then fly north for the summer, to breed. Here, in summer, we get the Cedar Waxwings instead.
I pulled over to try and get a shot or two - quite the feeling to have so many of these beautiful, sleek birds flying around you when you are standing there. Earlier in the afternoon, this mass of birds landed in the parking lot trees. Interesting to hear the loud "whoosh" when they all took off so close to where we were standing.
"The name "Bohemian" refers to the nomadic movements of winter flocks. It comes from the inhabitants of Bohemia, meaning those that live an unconventional lifestyle or like that of gypsies.
The Bohemian Waxwing does not hold breeding territories, probably because the fruits it eats are abundant, but available only for short periods. One consequence of this non-territorial lifestyle is that it has no true song. It does not need one to defend a territory." From AllAboutBirds.
"The Bohemian waxwing's call is a high trill sirrrr. It is less wavering and lower-pitched than that of the cedar waxwing. Other calls are just variants of the main vocalisation; a quieter version is used by chicks to call parents, and courtship calls, also given during nest construction, have a particularly large frequency range. Although not a call as such, when a flock takes off or lands, the wings make a distinctive rattling sound that can be heard 30 m (100 ft) away." From Wikipedia.
Classic Problem: A farmer needs to cross a river, but his boat can only hold one other passenger or item. He can't leave the grain with the chicken for the chicken will eat the grain. He can't leave the fox with the chicken for the fox will eat the chicken.
How can he manage to get the fox, the chicken, and the sack of grain safely across the river?
the absence of evidence for extraterrestrial intelligence. For the type ofestimation problem, see Fermi problem. For the music album, see Fermi Paradox (album). For the short story, see The Fermi Paradox Is Our Business Model.A graphical representation of the Arecibo message – Humanity's first
attempt to use radio waves to actively communicate its existence to alien civilizations. The Fermi paradox (or Fermi's paradox) is the apparent contradiction between high estimates of the probability of the existence of extraterrestrial civilization and humanity's lack of contact with, or evidence for, such civilizations.[1] The basic points of the argument,
made by physicists Enrico Fermi and Michael H. Hart, are:
• The Sun is a young star. There are billions of stars in the galaxy that are billions of years older;• Some of these stars likely have Earth-like planets[2] which, if the Earth is typical, may develop intelligent life;• Presumably some of these civilizations will develop interstellar travel, as Earth seems likely to do;• At any practical pace of interstellar travel, the galaxy can be completely colonized in just a few tens of millions of years.According to this line of thinking, the Earth should have already been colonized, or at least visited. But no convincing evidence of this exists.Furthermore, no confirmed signs of intelligence elsewhere have been spotted, either in our galaxy or the more than 80 billion other galaxies of
the observable universe. Hence Fermi's question "Where is everybody?"
brainu.org/files/wikipedia_fermi_paradox_information.pdf
Frank Drake in 1961 in an attempt to find a systematic means to evaluate the numerous probabilities involved in the existence of alien life. The speculative equation considers the rate of star formation in the galaxy; the fraction of stars with planets and the number per star that are habitable; the fraction of those planets that develop life; the fraction that develop intelligent life; the fraction that have detectable, technological intelligent life; and finally the length of time such communicable civilizations are detectable. The fundamental problem is that the last four terms are completely unknown, rendering statistical estimates impossible.There are two parts of the Fermi paradox that rely on empirical evidence—that there are many potential habitable planets, and that we see no evidence of life. The first point, that many suitable planets exist, was an assumption in Fermi's time that is gaining ground with the discovery of many exoplanets, and models predicting billions of habitable worlds in our galaxy..The second part of the paradox, that we see no evidence of extraterrestrial life, is also an active field of scientific research. This includes both efforts to find any indication of life,[36] and efforts specifically directed to finding intelligent life. These searches have been made since 1960, and several are ongoing?Those who think that intelligent extraterrestrial life is (nearly) impossible argue that the conditions needed for the evolution of life—or at least the evolution of biological complexity—are rare or even unique to Earth. Under this assumption, called the rare Earth hypothesis, a rejection of the mediocrity principle, complex multicellular life is regarded as exceedingly unusual.The Rare Earth hypothesis argues that the evolution of biological complexity requires a host of fortuitous circumstances, such as a galactic habitable zone, a central star and planetary system having the requisite character, the circumstellar habitable zone, a right sized terrestrial planet, the advantage of a giant guardian like Jupiter and a large natural satellite, conditions needed to ensure the planet has a magnetosphere and plate tectonics, the chemistry of the lithosphere, atmosphere, and oceans, the role of "evolutionary pumps" such as massive glaciation and rare bolide impacts, and whatever led to the appearance of the eukaryote cell, sexual reproduction and the Cambrian explosion.This is the argument that technological civilizations may usually or invariably destroy themselves before or shortly after developing radio or spaceflight technology. Possible means of annihilation are many,[68] including war, accidental environmental contamination, or poorly designed artificial intelligence. This general theme is explored both in fiction and in scientific hypothesizing. In 1966, Sagan and Shklovskii speculated that technological civilizations will either tend to destroy themselves within a century of developing interstellar communicative capability or master their self-destructive tendencies and survive for billion-year timescales.Self-annihilation may also be viewed in terms of thermodynamics: insofar as life is an ordered system that can sustain itself against the tendency to disorder, the "external transmission" or interstellar communicative phase may be the point at which the system becomes unstable and self-destructs.Another hypothesis is that an intelligent species beyond a certain point of technological capability will destroy other intelligent species as they appear. The idea that something, or someone, might be destroying intelligent life in the universe has been explored in the scientific literature. A species might undertake such extermination out of expansionist motives, paranoia, or aggression. In 1981, cosmologist Edward Harrison argued that such behavior would be an act of prudence: an intelligent species that has overcome its own self-destructive tendencies might view any other species bent on galactic expansion as a threat It has also been suggested that a successful alien species would be a superpredator, as are humans.New life might commonly die out due to runaway heating or cooling on their fledgling planets.On Earth, there have been numerous major extinction events that destroyed the majority of complex species alive at the time; the extinction of the dinosaurs is the best known example. These are thought to have been caused by events such as impact from a large meteorite, massive volcanic eruptions, or astronomical events such as gamma-ray bursts.[76] It may be the case that such extinction events are common throughout the universe and periodically destroy intelligent life, or at least its civilizations, before the species is able to develop the technology to communicate with other species.
Injector problems with 'Castle' No. 5029 'Nunney Castle' resulted in Pathfinder Tours 'Exmoor Coast Express' being piloted by Rail Express Services (RES) No. 47761 on their 0625 Derby - Minehead on 17th March 2001. 'Nunney Castle' joined the train at Nuneaton, as did No. 47761, and the pair are seen pounding up the 1-in-85 drag from St.Andrews Junction onto the Camp Hill Line just as they cross the Great Western Mainline at Bordesley. Plenty of clag from both enlivens a very cold, snowy morning. Copyright Photograph John Whitehouse - all rights reserved
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Clarence L. "Kelly" Johnson, vice president of engineering and research at Lockheed's Skunk Works, visited USAF air bases across South Korea in November 1951 to speak with fighter pilots about what they wanted and needed in a fighter aircraft. At the time, the American pilots were confronting the MiG-15 with North American F-86 Sabres, and many felt that the MiGs were superior to the larger and more complex American design. The pilots requested a small and simple aircraft with excellent performance, especially high speed and altitude capabilities. Armed with this information, Johnson immediately started the design of such an aircraft on his return to the United States.
Work started in March 1952. In order to achieve the desired performance, Lockheed chose a small and simple aircraft, weighing in at 12,000 lb (5,400 kg) with a single powerful engine. The engine chosen was the new General Electric J79 turbojet, an engine of dramatically improved performance in comparison with contemporary designs. The small L-246 design remained essentially identical to the Model 083 Starfighter as eventually delivered.
Johnson presented the design to the Air Force on 5 November 1952, and work progressed quickly, with a mock-up ready for inspection at the end of April, and work starting on two prototypes that summer. The first prototype was completed by early 1954 and first flew on 4 March at Edwards AFB. The total time from contract to first flight was less than one year.
The first YF-104A flew on 17 February 1956 and, with the other 16 trial aircraft, were soon carrying out equipment evaluation and flight tests. Lockheed made several improvements to the aircraft throughout the testing period, including strengthening the airframe, adding a ventral fin to improve directional stability at supersonic speed, and installing a boundary layer control system (BLCS) to reduce landing speed. Problems were encountered with the J79 afterburner; further delays were caused by the need to add AIM-9 Sidewinder air-to-air missiles. On 28 January 1958, the first production F-104A to enter service was delivered.
Even though the F-104 saw only limited use by the USAF, later versions, tailored to a fighter bomber role and intended for overseas sales, were more prolific. This was in particular the F-104G, which became the Starfighter's main version, a total of 1,127 F-104Gs were produced under license by Canadair and a consortium of European companies that included Messerschmitt/MBB, Fiat, Fokker, and SABCA.
The F-104G differed considerably from earlier versions. It featured strengthened fuselage, wing, and empennage structures; a larger vertical fin with fully powered rudder as used on the earlier two-seat versions; fully powered brakes, new anti-skid system, and larger tires; revised flaps for improved combat maneuvering; a larger braking chute. Upgraded avionics included an Autonetics NASARR F15A-41B multi-mode radar with air-to-air, ground-mapping, contour-mapping, and terrain-avoidance modes, as well as the Litton LN-3 Inertial Navigation System, the first on a production fighter.
Germany was among the first foreign operators of the F-104G variant. As a side note, a widespread misconception was and still is that the "G" explicitly stood for "Germany". But that was not the case and pure incidence, it was just the next free letter, even though Germany had a major influence on the aircraft's concept and equipment. The German Air Force and Navy used a large number of F-104G aircraft for interception, reconnaissance and fighter bomber roles. In total, Germany operated 916 Starfighters, becoming the type's biggest operator in the world. Beyond the single seat fighter bombers, Germany also bought and initially 30 F-104F two-seat aircraft and then 137 TF-104G trainers. Most went to the Luftwaffe and a total of 151 Starfighters was allocated to the Marineflieger units.
The introduction of this highly technical aircraft type to a newly reformed German air force was fraught with problems. Many were of technical nature, but there were other sources of problems, too. For instance, after WWII, many pilots and ground crews had settled into civilian jobs and had not kept pace with military and technological developments. Newly recruited/re-activated pilots were just being sent on short "refresher" courses in slow and benign-handling first-generation jet aircraft or trained on piston-driven types. Ground crews were similarly employed with minimal training and experience, which was one consequence of a conscripted military with high turnover of service personnel. Operating in poor northwest European weather conditions (vastly unlike the fair-weather training conditions at Luke AFB in Arizona) and flying low at high speed over hilly terrain, a great many Starfighter accidents were attributed to controlled flight into terrain (CFIT). German Air Force and Navy losses with the type totaled 110 pilots, around half of them naval officers.
One general contributing factor to the high attrition rate was the operational assignment of the F-104 in German service: it was mainly used as a (nuclear strike) fighter-bomber, flying at low altitude underneath enemy radar and using landscape clutter as passive radar defense, as opposed to the original design of a high-speed, high-altitude fighter/interceptor. In addition to the different and demanding mission profiles, the installation of additional avionic equipment in the F-104G version, such as the inertial navigation system, added distraction to the pilot and additional weight that further hampered the flying abilities of the plane. In contemporary German magazine articles highlighting the Starfighter safety problems, the aircraft was portrayed as "overburdened" with technology, which was considered a latent overstrain on the aircrews. Furthermore, many losses in naval service were attributed to the Starfighter’s lack of safety margin through a twin-engine design like the contemporary Blackburn Buccaneer, which had been the German navy air arm’s favored type. But due to political reasons (primarily the outlook to produce the Starfighter in Southern Germany in license), the Marine had to accept and make do with the Starfighter, even if it was totally unsuited for the air arm's mission profile.
Erich Hartmann, the world's top-scoring fighter ace from WWII, commanded one of Germany's first (post-war) jet fighter-equipped squadrons and deemed the F-104 to be an unsafe aircraft with poor handling characteristics for aerial combat. To the dismay of his superiors, Hartmann judged the fighter unfit for Luftwaffe use even before its introduction.
In 1966 Johannes Steinhoff took over command of the Luftwaffe and grounded the entire Luftwaffe and Bundesmarine F-104 fleet until he was satisfied that the persistent problems had been resolved or at least reduced to an acceptable level. One measure to improve the situation was that some Starfighters were modified to carry a flight data recorder or "black box" which could give an indication of the probable cause of an accident. In later years, the German Starfighters’ safety record improved, although a new problem of structural failure of the wings emerged: original fatigue calculations had not taken into account the high number of g-force loading cycles that the German F-104 fleet was experiencing through their mission profiles, and many airframes were returned to the depot for wing replacement or outright retirement.
The German F-104Gs served primarily in the strike role as part of the Western nuclear deterrent strategy, some of these dedicated nuclear strike Starfighters even had their M61 gun replaced by an additional fuel tank for deeper penetration missions. However, some units close to the German borders, e.g. Jagdgeschwader (JG) 71 in Wittmundhafen (East Frisia) as well as JG 74 in Neuburg (Bavaria), operated the Starfighter as a true interceptor on QRA duty. From 1980 onwards, these dedicated F-104Gs received a new air superiority camouflage, consisting of three shades of grey in an integral wraparound scheme, together with smaller, subdued national markings. This livery was officially called “Norm 82” and unofficially “Alberich”, after the secretive guardian of the Nibelung's treasure. A similar wraparound paint scheme, tailored to low-level operations and consisting of two greens and black (called Norm 83), was soon applied to the fighter bombers and the RF-104 fleet, too, as well as to the Luftwaffe’s young Tornado IDS fleet.
However, the Luftwaffe’s F-104Gs were at that time already about to be gradually replaced, esp. in the interceptor role, by the more capable and reliable F-4F Phantom II, a process that lasted well into the mid-Eighties due to a lagging modernization program for the Phantoms. The Luftwaffe’s fighter bombers and recce Starfighters were replaced by the MRCA Tornado and RF-4E Phantoms. In naval service the Starfighters soldiered on for a little longer until they were also replaced by the MRCA Tornado – eventually, the Marineflieger units received a two engine aircraft type that was suitable for their kind of missions.
In the course of the ongoing withdrawal, a lot of German aircraft with sufficiently enough flying hours left were transferred to other NATO partners like Norway, Greece, Turkey and Italy, and two were sold to the NASA. One specific Starfighter was furthermore modified into a CCV (Control-Configured Vehicle) experimental aircraft under control of the German Industry, paving the way to aerodynamically unstable aircraft like the Eurofighter/Typhoon. The last operational German F-104 made its farewell flight on 22. Mai 1991, and the type’s final flight worldwide was in Italy in October 2004.
General characteristics:
Crew: 1
Length: 54 ft 8 in (16.66 m)
Wingspan: 21 ft 9 in (6.63 m)
Height: 13 ft 6 in (4.11 m)
Wing area: 196.1 ft² (18.22 m²)
Airfoil: Biconvex 3.36 % root and tip
Empty weight: 14,000 lb (6,350 kg)
Max takeoff weight: 29,027 lb (13,166 kg)
Powerplant:
1× General Electric J79 afterburning turbojet,
10,000 lbf (44 kN) thrust dry, 15,600 lbf (69 kN) with afterburner
Performance:
Maximum speed: 1,528 mph (2,459 km/h, 1,328 kn)
Maximum speed: Mach 2
Combat range: 420 mi (680 km, 360 nmi)
Ferry range: 1,630 mi (2,620 km, 1,420 nmi)
Service ceiling: 50,000 ft (15,000 m)
Rate of climb: 48,000 ft/min (240 m/s) initially
Lift-to-drag: 9.2
Wing loading: 105 lb/ft² (510 kg/m²)
Thrust/weight: 0.54 with max. takeoff weight (0.76 loaded)
Armament:
1× 20 mm (0.787 in) M61A1 Vulcan six-barreled Gatling cannon, 725 rounds
7× hardpoints with a capacity of 4,000 lb (1,800 kg), including up to four AIM-9 Sidewinder, (nuclear)
bombs, guided and unguided missiles, or other stores like drop tanks or recce pods
The kit and its assembly:
A relatively simple what-if project – based on the question how a German F-104 interceptor might have looked like, had it been operated for a longer time to see the Luftwaffe’s low-viz era from 1981 onwards. In service, the Luftwaffe F-104Gs started in NMF and then carried the Norm 64 scheme, the well-known splinter scheme in grey and olive drab. Towards the end of their career the fighter bombers and recce planes received the Norm 83 wraparound scheme in green and black, but by that time no dedicated interceptors were operational anymore, so I stretched the background story a little.
The model is the very nice Italeri F-104G/S model, which is based on the ESCI molds from the Eighties, but it comes with recessed engravings and an extra sprue that contains additional drop tanks and an Orpheus camera pod. The kit also includes a pair of Sidewinders with launch rails for the wing tips as well as the ventral “catamaran” twin rail, which was frequently used by German Starfighters because the wing tips were almost constantly occupied with tanks.
Fit and detail is good – the kit is IMHO very good value for the money. There are just some light sinkholes on the fuselage behind the locator pins, the fit of the separate tail section is mediocre and calls for PSR, and the thin and very clear canopy is just a single piece – for open display, you have to cut it by yourself.
Since the model would become a standard Luftwaffe F-104G, just with a fictional livery, the kit was built OOB. The only change I made are drooped flaps, and the air brakes were mounted in open position.
The ordnance (wing tip tanks plus the ventral missiles) was taken from the kit, reflecting the typical German interceptor configuration: the wing tips were frequently occupied with tanks, sometimes even together with another pair of drop tanks under the wings, so that any missile had to go under the fuselage. The instructions for the ventral catamaran launch rails are BTW wrong – they tell the builder to mount the launch rails onto the twin carrier upside down! Correctly, the carrier’s curvature should lie flush on the fuselage, with no distance at all. When mounted as proposed, the Sidewinders come very close to the ground and the whole installation looks pretty goofy! I slightly modified the catamaran launch rail with some thin styrene profile strips as spacers, and the missiles themselves, AIM-9Bs, were replaced with more modern and delicate AIM-9Js from a Hasegawa air-to-air weapons set. Around the hull, some small blade antennae, a dorsal rotating warning light and an angle-of-attack sensor were added.
Painting and markings:
The exotic livery is what defined this what-if build, and the paint scheme was actually inspired by a real world benchmark: some Dornier Do-28D Skyservants of the German Marineflieger received, late in their career, a wraparound scheme in three shades of grey, namely RAL 7030 (Steingrau), 7000 (Fehgrau) and 7012 (Basaltgrau). I thought that this would work pretty well for an F-104G interceptor that operates at medium to high altitudes, certainly better than the relatively dark Norm 64 splinter scheme or the Norm 83 low-altitude pattern.
The camouflage pattern was simply adopted from the Starfighter’s Norm 83 scheme, just the colors were exchanged. The kit was painted with acrylic paints from Revell, since the authentic tones were readily available, namely 75, 57 and 77. As a disrupting detail I gave the wing tip tanks the old Norm 64 colors: uniform Gelboliv from above (RAL 6014, Revell 42), Silbergrau underneath (RAL 7001, Humbrol’s 127 comes pretty close), and bright RAL 2005 dayglo orange markings, the latter created with TL Modellbau decal sheet material for clean edges and an even finish.
The cockpit interior was painted in standard medium grey (Humbrol 140, Dark Gull Grey), the landing gear including the wells became aluminum (Humbrol 56), the interior of the air intakes was painted with bright matt aluminum metallizer (Humbrol 27001) with black anti-icing devices in the edges and the shock cones. The radome was painted with very light grey (Humbrol 196, RAL 7035), the dark green anti-glare panel is a decal from the OOB sheet.
The model received a standard black ink washing and some panel post-shading (with Testors 2133 Russian Fulcrum Grey, Humbrol 128 FS 36320 and Humbrol 156 FS 36173) in an attempt to even out the very different shades of grey. The result does not look bad, pretty worn and weathered (like many German Starfighters), even though the paint scheme reminds a lot of the Hellenic "Ghost" scheme from the late F-4Es and the current F-16s?
The decals for the subdued Luftwaffe markings were puzzled together from various sources. The stencils were mostly taken from the kit’s exhaustive and sharply printed sheet. Tactical codes (“26+40” is in the real Starfighter range, but this specific code was AFAIK never allocated), iron crosses and the small JG 71 emblems come from TL Modellbau aftermarket sheets. Finally, after some light soot stains around the gun port, the afterburner and some air outlets along the fuselage with graphite, the model was sealed with matt acrylic varnish.
A simple affair, since the (nice) kit was built OOB and the only really fictional aspect of this model is its livery. But the resulting aircraft looks good, the all-grey wraparound scheme suits the slender F-104 well and makes an interceptor role quite believable. Would probably also look good on a German Eurofighter? Certainly more interesting than the real world all-blue-grey scheme.
In the beauty pics the scheme also appears to be quite effective over open water, too, so that the application to the Marineflieger Do-28Ds made sense. However, for the real-world Starfighter, this idea came a couple of years too late.
Abraham Lincoln (1920) is a colossal seated figure of the 16th president of the United States, Abraham Lincoln (1809–1865), sculpted by Daniel Chester French (1850–1931) and carved by the Piccirilli Brothers. Located in the Lincoln Memorial (constructed 1914–1922), on the National Mall, Washington, D.C., United States, the statue was unveiled in 1922. The work follows in the Beaux Arts and American Renaissance style traditions.
The 170-ton statue is composed of 28 blocks of white Georgia marble (Georgia Marble Company)[1][vague] and rises 30 feet (9.1 m) from the floor, including the 19-foot (5.8 m) seated figure (with armchair and footrest) upon an 11-foot (3.4 m) high pedestal. The figure of Lincoln gazes directly ahead and slightly down with an expression of gravity and solemnity. His frock coat is unbuttoned, and a large United States flag is draped over the chair back and sides. French paid particular attention to Lincoln's expressive hands, which rest on the enormous arms of a semi-circular ceremonial chair, whose fronts bear fasces, emblems of authority from Roman antiquity. French used casts of his own fingers to achieve the correct placement.
Daniel Chester French was selected in 1914 by the Lincoln Memorial Committee to create a Lincoln statue as part of the memorial to be designed by architect Henry Bacon (1866–1924). French was already famous for his 1874 The Minute Man statue in Concord, Massachusetts, and other works such as his 1884 John Harvard statue. He was also the personal choice of Bacon, who had already been collaborating with him for nearly 25 years. French resigned his chairmanship of the Fine Arts Commission in Washington, D.C. — a group closely affiliated with the memorial's design and creation — and commenced work in December.
French had already created (1909–1912) a major memorial statue of Lincoln—this one standing—for the Nebraska State Capitol (Abraham Lincoln, 1912) in Lincoln, Nebraska. His previous studies of Lincoln—which included biographies, photographs, and a life mask of Lincoln by Leonard Volk done in 1860—had prepared him for the challenging task of the larger statue. He and Bacon decided that a large seated figure would be most appropriate for the national memorial. French started with a small clay study and subsequently created several plaster models, making subtle changes in the figure's pose or setting. He placed Lincoln not in an ordinary 19th-century seat but in a classical chair, including fasces, a Roman symbol of authority, to convey that the subject was an eminence for all the ages.
Three plaster models of the Lincoln statue are at French's Chesterwood Studio, a National Trust Historic Site in Stockbridge, Massachusetts, including a plaster sketch (1915) and a six-foot plaster model (1916). The second of French's plasters, created at Chesterwood in the summer of 1916 (inscribed October 31), became the basis of the final work, which was initially envisioned as a 12-foot (3.7 m) bronze. In deciding the size of the final statue, French and Bacon took photographic enlargements of the model to the memorial under construction. Eventually, French's longtime collaborators, the firm of Piccirilli Brothers, were commissioned to do the carving of a much larger sculpture in marble from a quarry near Tate, Georgia.
French's design took a year to transfer to the massive marble blocks. French provided finishing strokes in the carvers' studio in The Bronx, New York City and after the statue was assembled in the memorial on the National Mall in 1920. Lighting the statue was a particular problem. In creating the work, French had understood that a large skylight would provide direct, natural illumination from overhead, but this was not included in the final plans. The horizontal light from the east flattened Lincoln's facial features—making him appear to stare blankly rather than wear a dignified expression—and highlighted his shins. French considered this a disaster. In the end, an arrangement of electric lights was devised to correct this situation. The work was unveiled at the memorial's formal dedication on May 30, 1922.
It is often said that the Lincoln figure is signing his own initials in the American manual alphabet: A with his left hand, "L" with his right. The National Park Service is at best ambivalent toward the story, saying, "It takes some imagination to see signs in Lincoln's hands." French had a deaf son and had depicted Thomas Hopkins Gallaudet signing in the manual alphabet.
Daniel Chester French (April 20, 1850 – October 7, 1931) was an American sculptor of the late nineteenth and early twentieth centuries. He is best known for his 1874 sculpture The Minute Man in Concord, Massachusetts, and his 1920 monumental statue of Abraham Lincoln in the Lincoln Memorial in Washington, D.C.
French was the son of Anne Richardson (1811–1856), daughter of William Merchant Richardson (1774–1838), chief justice of New Hampshire; and of Henry Flagg French (1813–1885). His siblings were Henriette Van Mater French Hollis (1839–1911), Sarah Flagg French Bartlett (1846–1883), and William M.R. French (1843–1914). He was the uncle of Senator Henry F. Hollis.
French was born in Exeter, New Hampshire, to Henry Flagg French (1813–1885), a lawyer, judge, Assistant US Treasury Secretary, and author of a book that described the French drain,[1] and his wife Anne Richardson. In 1867, French moved with his family to Concord, Massachusetts, where he was a neighbor and friend of Ralph Waldo Emerson, and the Alcott family. His decision to pursue sculpting was influenced by Louisa May Alcott's sister Abigail May Alcott.
French in his studio with the model for Thomas Hopkins Gallaudet and Alice Cogswell, c. 1889, Department of Image Collections, National Gallery of Art Library, Washington, DC
French's early education included training in anatomy with William Rimmer and in drawing with William Morris Hunt. French spent a year studying at the Massachusetts Institute of Technology, and also several years in Florence, Italy, studying in the studio of Thomas Ball. French first earned acclaim for The Minute Man, commissioned by the town of Concord, Massachusetts, which was unveiled April 19, 1875, on the centenary of the Battle of Lexington and Concord. He soon established his own studio, first in Washington, DC, moving later to Boston and then to New York City. French's reputation grew with his Statue of the Republic for the World's Columbian Exposition of 1893, in Chicago. Other memorable works by French include: the First Division Monument and the Butt-Millet Memorial Fountain in Washington; John Harvard, Cambridge, Massachusetts; bronze doors for the Boston Public Library; and Four Continents at the US Custom House, New York (now the Alexander Hamilton US Custom House). In addition to the Lincoln Memorial, French collaborated with architect Henry Bacon on numerous memorials around the country and on the Dupont Circle fountain in Washington, DC.
In 1893, French was a founding member of the National Sculpture Society, and he was appointed a Fellow of the American Academy of Arts and Sciences in 1913. During this time, he served as an instructor at the Art Students League of New York, teaching sculpture there in 1890 and 1898. French also became a member of the National Academy of Design (1901), the American Academy of Arts and Letters (which awarded him the Gold Medal for Sculpture in 1917), the Architectural League, and the Accademia di San Luca, of Rome. He was a trustee of the Metropolitan Museum of Art in New York City, and a co-founder of the American Academy in Rome. He was a Chevalier of the French Legion of Honor and was awarded a medal of honor from the Paris Exposition of 1900; he also was granted honorary degrees from Dartmouth, Yale, Harvard, and Columbia universities. He was a founding member of the U.S. Commission of Fine Arts, serving from 1910 to 1915, including as chairman from 1912 to 1915.
In 1917, French and a colleague, Henry Augustus Lukeman, designed the Pulitzer Prize gold medal presented to laureates. French designed the side of the prize with Benjamin Franklin on it, while Lukeman created the iconic design of the printing press and the wording on the award: "For disinterested and meritorious public service rendered by an American newspaper during the year….". In collaboration with Edward Clark Potter he modeled the George Washington statue, commissioned by a group that called itself "The Association of American Women for the Erection of a Statue of Washington in Paris" and unveiled in the Place d'Iena in Paris, France, in 1900; the General Grant statue in Fairmount Park, Philadelphia, commissioned by the Association for Public Art (formerly the Fairmount Park Art Association); and the equestrian statue of Joseph Hooker in Boston.
French was one of many sculptors who frequently employed Audrey Munson as a model; another frequent sitter was Hettie Anderson. Together with Walter Leighton Clark and others, he was also one of the founders of the Berkshire Playhouse, which later became the Berkshire Theatre Festival. French's daughter, Margaret, also occasionally modeled for him, including for some of his rare portrait paintings, and became famous in her own right as a sculptor under the name Margaret French Cresson. In 1917, Harvard's citation in conferring an honorary Master of Arts referred to his statue of Emerson when it called him "a sculptor, whose skillful hand, unlike that of the friend whom he portrayed, has not been stopped but spared to adorn our land by the creation of his art". French also taught; among his pupils was the sculptor Edith Howland.
French died in Stockbridge, Massachusetts, in 1931 at age 81. He is buried in Sleepy Hollow Cemetery, Concord.
Chesterwood, French's summer home and studio – designed by his architect friend and frequent collaborator Henry Bacon – is now a historic site owned and operated by the National Trust for Historic Preservation.
In 1940, French was selected as one of five artists to be honored in the 35-stamp "Famous Americans" series.
Chester French was an American indie band named for the artist.
"Daniel Chester French: American Sculptor" (2022) is a documentary film by Eduardo Montes-Bradley produced in association with Chesterwood and the National Trust for Historic Preservation.HD, 60 minutes.
Works
Notable public monuments
The Minute Man at the Old North Bridge in Concord, Massachusetts, (1874)
Bust of Major General William Francis Bartlett at Memorial Hall, Harvard University, (1881)
John Harvard, Harvard Yard in Cambridge, Massachusetts, (1884)
Lewis Cass, National Statuary Hall, Washington DC, (1889)
Thomas Hopkins Gallaudet and Alice Cogswell (1889), Gallaudet University, Washington, DC
Thomas Starr King monument San Francisco, California, (1891)
Statue of The Republic, the colossal centerpiece of the World's Columbian Exposition, Chicago, 1893. His 24-foot gilt-bronze reduced version made in 1918 survives in Chicago.
John Boyle O'Reilly Memorial, intersection of Boylston Street and the Fenway in Boston, Massachusetts, (1897)
Rufus Choate memorial, Old Suffolk County Court House, Boston, Massachusetts, (1898)
Richard Morris Hunt Memorial, on the perimeter wall of Central Park, at 5th Avenue at 70th Street, opposite the Frick Collection, in New York City, (1900)
Commodore George H. Perkins Monument at the New Hampshire State House, Concord, New Hampshire (1902)
Alma Mater (1903), on the campus of Columbia University in New York City
Statue of Wendell Phillips, Public Garden in Boston, Massachusetts
The Four Continents – Asia, America, Europe, and Africa, a group of four statues outside the National Museum of the American Indian at the Alexander Hamilton U.S. Custom House, Manhattan, NYC (1907)
George Robert White Memorial, Public Garden in Boston, Massachusetts
Statue of Samuel Spencer, first president of Southern Railway, located in front of Goode Building (Norfolk Southern offices) on Peachtree Street in Midtown Atlanta, Georgia, (1910)
August Meyer Memorial, 10th and The Paseo, Kansas City, Missouri (1909)
James Oglethorpe Monument, Chippewa Square, Savannah, Georgia (1910)
Standing Lincoln at the Nebraska State Capitol, Lincoln, Nebraska, (1912)
Brooklyn and Manhattan, seated figures from the Manhattan Bridge, Brooklyn Museum in Brooklyn, New York, (1915)
Minuteman, Henry Bacon designer, Jno. Williams, Inc. (NY) founder, Danville, Illinois. (1915)
The Spirit of Life, memorial to Spencer Trask, in Saratoga Springs, New York, at Congress Park, 1915
Abraham Lincoln in the Lincoln Memorial (1914–22), executed by the Piccirilli Brothers.
The Weaver, outside the Peace Dale Library in South Kingstown, Rhode Island (1919).
Marquis de Lafayette Memorial, on the perimeter of Prospect Park (Brooklyn), at 9th Street and Prospect Park West, Brooklyn, New York, (1917)
Samuel Francis du Pont Memorial Fountain, Dupont Circle, Washington DC (1921)
Alfred Tredway White Memorial, Brooklyn Botanic Garden, Henry Bacon architect (1921)
Russell Alger Memorial Fountain, Grand Circus Park, Detroit, Michigan (1921).
Marquis de Lafayette Statue, Lafayette College campus, Easton, Pennsylvania (1921).
Gale Park War Memorial & Park, Exeter, New Hampshire (1922)
Bust of Washington Irving and reliefs of Boabdil and Rip Van Winkle for the Washington Irving Memorial, Irvington, New York, (1927)
Beneficence, Ball State University in Muncie, Indiana. (1930)
William Henry Seward Memorial in Florida, New York (1930)
Death and the Wounded Soldier aka Death and Youth, The Chapel of Saint Peter and Saint Paul, St. Paul's School, Concord, New Hampshire
James Woods, "Uncle Jimmy" Green, University of Kansas, Lawrence, KS. (1924)
Gen. William Franklin Draper, Draper Memorial Park, Milford, Massachusetts. (1912)
Abraham Lincoln was an American lawyer, politician, and statesman, who served as the 16th president of the United States, from 1861 until his assassination in 1865. Lincoln led the United States through the American Civil War, defending the nation as a constitutional union, defeating the insurgent Confederacy, playing a major role in the abolition of slavery, expanding the power of the federal government, and modernizing the U.S. economy.
Lincoln was born into poverty in a log cabin in Kentucky and was raised on the frontier, mainly in Indiana. He was self-educated and became a lawyer, Whig Party leader, Illinois state legislator, and U.S. representative from Illinois. In 1849, he returned to his successful law practice in Springfield, Illinois. In 1854, he was angered by the Kansas–Nebraska Act, which opened the territories to slavery, causing him to re-enter politics. He soon became a leader of the new Republican Party. He reached a national audience in the 1858 Senate campaign debates against Stephen A. Douglas. Lincoln ran for president in 1860, sweeping the North to gain victory. Pro-slavery elements in the South viewed his election as a threat to slavery, and Southern states began seceding from the nation. During this time, the newly formed Confederate States of America began seizing federal military bases in the South. A little over one month after Lincoln assumed the presidency, Confederate forces attacked Fort Sumter, a U.S. fort in South Carolina. Following the bombardment, Lincoln mobilized forces to suppress the rebellion and restore the union.
Lincoln, a moderate Republican, had to navigate a contentious array of factions with friends and opponents from both the Democratic and Republican parties. His allies, the War Democrats and the Radical Republicans, demanded harsh treatment of the Southern Confederates. He managed the factions by exploiting their mutual enmity, carefully distributing political patronage, and by appealing to the American people. Anti-war Democrats (called "Copperheads") despised Lincoln, and some irreconcilable pro-Confederate elements went so far as to plot his assassination. His Gettysburg Address came to be seen as one of the greatest and most influential statements of American national purpose. Lincoln closely supervised the strategy and tactics in the war effort, including the selection of generals, and implemented a naval blockade of the South's trade. He suspended habeas corpus in Maryland and elsewhere, and averted British intervention by defusing the Trent Affair. In 1863, he issued the Emancipation Proclamation, which declared the slaves in the states "in rebellion" to be free. It also directed the Army and Navy to "recognize and maintain the freedom of such persons", and to receive them "into the armed service of the United States." Lincoln pressured border states to outlaw slavery, and he promoted the Thirteenth Amendment to the U.S. Constitution, which abolished slavery, except as punishment for a crime.
Lincoln managed his own successful re-election campaign. He sought to heal the war-torn nation through reconciliation. On April 14, 1865, just five days after the Confederate surrender at Appomattox, he was attending a play at Ford's Theatre in Washington, D.C., with his wife, Mary, when he was fatally shot by Confederate sympathizer John Wilkes Booth. Lincoln is remembered as a martyr and a national hero for his wartime leadership and for his efforts to preserve the Union and abolish slavery. Lincoln is often ranked in both popular and scholarly polls as the greatest president in American history.
The Lincoln Memorial is a U.S. national memorial that honors the 16th president of the United States, Abraham Lincoln. An example of neoclassicism, it is in the form of a classical temple and is located at the western end of the National Mall in Washington, D.C. Henry Bacon is the memorial's architect and Daniel Chester French designed the large interior statue of a seated Abraham Lincoln (1920), which was carved in marble by the Piccirilli brothers. Jules Guerin painted the interior murals, and the epitaph above the statue was written by Royal Cortissoz. Dedicated on May 30, 1922, it is one of several memorials built to honor an American president. It has been a major tourist attraction since its opening, and over the years, has occasionally been used as a symbolic center focused on race relations and civil rights.
Doric style columns line the temple exterior, and the inscriptions inside include two well-known speeches by Lincoln, the Gettysburg Address and his second inaugural address. The memorial has been the site of many famous speeches, including Martin Luther King Jr.'s "I Have a Dream" speech delivered on August 28, 1963, during the rally at the end of the March on Washington for Jobs and Freedom.
Like other monuments on the National Mall – including the nearby Vietnam Veterans Memorial, Korean War Veterans Memorial, and World War II Memorial – the national memorial is administered by the National Park Service under its National Mall and Memorial Parks group. It has been listed on the National Register of Historic Places since October 15, 1966, and was ranked seventh on the American Institute of Architects' 2007 list of America's Favorite Architecture. The memorial is open to the public 24 hours a day, and more than seven million people visit it annually.
The first public memorial to United States President Abraham Lincoln in Washington, D.C., was a statue by Lot Flannery erected in front of the District of Columbia City Hall in 1868, three years after Lincoln's assassination. Demands for a fitting national memorial had been voiced since the time of Lincoln's death. In 1867, Congress passed the first of many bills incorporating a commission to erect a monument for the sixteenth president. An American sculptor, Clark Mills, was chosen to design the monument. His plans reflected the nationalistic spirit of the time and called for a 70-foot (21 m) structure adorned with six equestrian and 31 pedestrian statues of colossal proportions, crowned by a 12-foot (3.7 m) statue of Abraham Lincoln. Subscriptions for the project were insufficient.
The matter lay dormant until the start of the 20th century, when, under the leadership of Senator Shelby M. Cullom of Illinois, six separate bills were introduced in Congress for the incorporation of a new memorial commission. The first five bills, proposed in the years 1901, 1902, and 1908, met with defeat because of opposition from Speaker Joe Cannon. The sixth bill (Senate Bill 9449), introduced on December 13, 1910, passed. The Lincoln Memorial Commission had its first meeting the following year and United States President William H. Taft was chosen as the commission's president. Progress continued steadily, and by 1913 Congress had approved the commission's choice of design and location.
There were questions regarding the commission's plan. Many thought architect Henry Bacon's Greek temple design was far too ostentatious for a man of Lincoln's humble character. Instead, they proposed a simple log cabin shrine. The site too did not go unopposed. The recently reclaimed land in West Potomac Park was seen by many as either too swampy or too inaccessible. Other sites, such as Union Station, were put forth. The Commission stood firm in its recommendation, feeling that the Potomac Park location, situated on the Washington Monument–Capitol axis, overlooking the Potomac River and surrounded by open land, was ideal. Furthermore, the Potomac Park site had already been designated in the McMillan Plan of 1901 to be the location of a future monument comparable to that of the Washington Monument.
With Congressional approval and a $300,000 allocation, the project got underway. On February 12, 1914, contractor M. F. Comer of Toledo, Ohio; resident member of the memorial's commission, former Senator Joseph C. S. Blackburn of Kentucky; and the memorial's designer, Henry Bacon conducted a groundbreaking ceremony by turning over a few spadefuls of earth. The following month is when actual construction began. Work progressed steadily according to schedule. Some changes were made to the plan. The statue of Lincoln, originally designed to be 10 feet (3.0 m) tall, was enlarged to 19 feet (5.8 m) to prevent it from being overwhelmed by the huge chamber. As late as 1920, the decision was made to substitute an open portal for the bronze and glass grille which was to have guarded the entrance. Despite these changes, the Memorial was finished on schedule. Commission president William H. Taft – who was then Chief Justice of the United States – dedicated the Memorial on May 30, 1922, and presented it to United States President Warren G. Harding, who accepted it on behalf of the American people. Lincoln's only surviving son, 78-year-old Robert Todd Lincoln, was in attendance. Prominent African Americans were invited to the event and discovered upon arrival they were assigned a segregated section guarded by U.S. Marines.
The Memorial was listed on the National Register of Historic Places on October 15, 1966.
The exterior of the Memorial echoes a classic Greek temple and features Yule marble quarried from Colorado. The structure measures 189.7 by 118.5 feet (57.8 by 36.1 m) and is 99 feet (30 m) tall. It is surrounded by a peristyle of 36 fluted Doric columns, one for each of the 36 states in the Union at the time of Lincoln's death, and two columns in-antis at the entrance behind the colonnade. The columns stand 44 feet (13 m) tall with a base diameter of 7.5 feet (2.3 m). Each column is built from 12 drums including the capital. The columns, like the exterior walls and facades, are inclined slightly toward the building's interior. This is to compensate for perspective distortions which would otherwise make the memorial appear to bulge out at the top when compared with the bottom, a common feature of Ancient Greek architecture.
Above the colonnade, inscribed on the frieze, are the names of the 36 states in the Union at the time of Lincoln's death and the dates in which they entered the Union. Their names are separated by double wreath medallions in bas-relief. The cornice is composed of a carved scroll regularly interspersed with projecting lions' heads and ornamented with palmetto cresting along the upper edge. Above this on the attic frieze are inscribed the names of the 48 states present at the time of the Memorial's dedication. A bit higher is a garland joined by ribbons and palm leaves, supported by the wings of eagles. All ornamentation on the friezes and cornices was done by Ernest C. Bairstow.
The Memorial is anchored in a concrete foundation, 44 to 66 feet (13 to 20 m) in depth, constructed by M. F. Comer and Company and the National Foundation and Engineering Company, and is encompassed by a 187-by-257-foot (57 by 78 m) rectangular granite retaining wall measuring 14 feet (4.3 m) in height.
Leading up to the shrine on the east side are the main steps. Beginning at the edge of the Reflecting Pool, the steps rise to the Lincoln Memorial Circle roadway surrounding the edifice, then to the main portal, intermittently spaced with a series of platforms. Flanking the steps as they approach the entrance are two buttresses each crowned with an 11-foot (3.4 m) tall tripod carved from pink Tennessee marble by the Piccirilli Brothers. There are a total of 87 steps (58 steps from the chamber to the plaza and 29 steps from the plaza to the Reflecting Pool).
The Memorial's interior is divided into three chambers by two rows of four Ionic columns, each 50 feet (15 m) tall and 5.5 feet (1.7 m) across at their base. The central chamber, housing the statue of Lincoln, is 60 feet (18 m) wide, 74 feet (23 m) deep, and 60 feet (18 m) high. The north and south chambers display carved inscriptions of Lincoln's second inaugural address and his Gettysburg Address.[Note 2] Bordering these inscriptions are pilasters ornamented with fasces, eagles, and wreaths. The inscriptions and adjoining ornamentation are by Evelyn Beatrice Longman.
The Memorial is replete with symbolic elements. The 36 columns represent the states of the Union at the time of Lincoln's death; the 48 stone festoons above the columns represent the 48 states in 1922. Inside, each inscription is surmounted by a 60-by-12-foot (18.3 by 3.7 m) mural by Jules Guerin portraying principles seen as evident in Lincoln's life: Freedom, Liberty, Morality, Justice, and the Law on the south wall; Unity, Fraternity, and Charity on the north. Cypress trees, representing Eternity, are in the murals' backgrounds. The murals' paint incorporated kerosene and wax to protect the exposed artwork from fluctuations in temperature and moisture.
The ceiling consists of bronze girders ornamented with laurel and oak leaves. Between these are panels of Alabama marble, saturated with paraffin to increase translucency. But feeling that the statue required even more light, Bacon and French designed metal slats for the ceiling to conceal floodlights, which could be modulated to supplement the natural light; this modification was installed in 1929. The one major alteration since was the addition of an elevator for the disabled in the 1970s.
Below the memorial is an undercroft. Due to water seeping through the calcium carbonate within the marble, over time stalactites and stalagmites have formed within it. During construction, graffiti was scrawled on it by workers, and is considered historical by the National Park Service. During the 1970s and 1980s, there were regular tours of the undercroft. The tours stopped abruptly in 1989 after a visitor noticed asbestos and notified the Service. For the memorial's centennial in 2022, the undercroft is planned to be open to visitors following a rehabilitation project funded by David Rubenstein.
IN THIS TEMPLE
AS IN THE HEARTS OF THE PEOPLE
FOR WHOM HE SAVED THE UNION
THE MEMORY OF ABRAHAM LINCOLN
IS ENSHRINED FOREVER
—Epitaph by Royal Cortissoz
Abraham Lincoln, by Daniel Chester French
Lying between the north and south chambers of the open-air Memorial is the central hall, which contains the large solitary figure of Abraham Lincoln sitting in contemplation. Its sculptor, Daniel Chester French, supervised the six Piccirilli brothers (Ferruccio, Attilio, Furio, Masaniello, Orazio, and Getulio) in its construction, and it took four years to complete.
The Lincoln Memorial Statue, with inscription in background
The 175-short-ton (159 t) statue, carved from Georgia white marble, was shipped in 28 pieces. Originally intended to be only 10 feet (3.0 m) tall, the sculpture was enlarged to 19 feet (5.8 m) from head to foot considering it would look small within the extensive interior space. If Lincoln were depicted standing, he would be 28 feet (8.5 m) tall.
The widest span of the statue corresponds to its height, and it rests upon an oblong pedestal of Tennessee marble 10 feet (3.0 m) high, 16 feet (4.9 m) wide, and 17 feet (5.2 m) deep. Directly beneath this lies a platform of Tennessee marble about 34.5 feet (10.5 m) long, 28 feet (8.5 m) wide, and 6.5 inches (0.17 m) high. Lincoln's arms rest on representations of Roman fasces, a subtle touch that associates the statue with the Augustan (and imperial) theme (obelisk and funerary monuments) of the Washington Mall. The statue is discretely bordered by two pilasters, one on each side. Between these pilasters, and above Lincoln's head, is engraved an epitaph of Lincoln by Royal Cortissoz.
An urban legend holds that the face of General Robert E. Lee is carved onto the back of Lincoln's head, and looks back across the Potomac toward his former home, Arlington House (now within the bounds of Arlington National Cemetery). Another popular legend is that Lincoln's hands are shown using sign language to represent his initials, his left hand signing an A and his right signing an L. The National Park Service denies both legends.
However, historian Gerald Prokopowicz writes that, while it is not clear that sculptor Daniel Chester French intended Lincoln's hands to be formed into sign language versions of his initials, it is possible that French did intend it. French was familiar with American Sign Language, and he would have had a reason to do so, to pay tribute to Lincoln for having signed the federal legislation giving Gallaudet University, a university for the deaf, the authority to grant college degrees. The National Geographic Society's publication "Pinpointing the Past in Washington, D.C." states that Daniel Chester French had a son who was deaf and that the sculptor was familiar with sign language. Historian James A. Percoco has observed that, although there are no extant documents showing that French had Lincoln's hands carved to represent the letters "A" and "L" in American Sign Language, "I think you can conclude that it's reasonable to have that kind of summation about the hands."
The Memorial has become a symbolically sacred venue, especially for the Civil Rights Movement. In 1939, the Daughters of the American Revolution refused to allow the African-American contralto Marian Anderson to perform before an integrated audience at the organization's Constitution Hall. At the suggestion of Eleanor Roosevelt, the wife of President Franklin D. Roosevelt, Harold L. Ickes, the Secretary of the Interior, arranged for a performance on the steps of the Lincoln Memorial on Easter Sunday of that year, to a live audience of 75,000 and a nationwide radio audience. On June 29, 1947, Harry Truman became the first president to address the National Association for the Advancement of Colored People (NAACP). The speech took place at the Lincoln Memorial during the NAACP convention and was carried nationally on radio. In that speech, Truman laid out the need to end discrimination, which would be advanced by the first comprehensive, presidentially proposed civil rights legislation.
On August 28, 1963, the memorial grounds were the site of the March on Washington for Jobs and Freedom, which proved to be a high point of the American Civil Rights Movement. It is estimated that approximately 250,000 people came to the event, where they heard Martin Luther King Jr., deliver his historic "I Have a Dream" speech before the memorial honoring the president who had issued the Emancipation Proclamation 100 years earlier. King's speech, with its language of patriotism and its evocation of Lincoln's Gettysburg Address, was meant to match the symbolism of the Lincoln Memorial as a monument to national unity. Labor leader Walter Reuther, an organizer of the march, persuaded the other organizers to move the march to the Lincoln Memorial from the Capitol Building. Reuther believed the location would be less threatening to Congress and that the occasion would be especially appropriate underneath the gaze of Abraham Lincoln's statue. The D.C. police also appreciated the location because it was surrounded on three sides by water, so that any incident could be easily contained.
Twenty years later, on August 28, 1983, crowds gathered again to mark the 20th Anniversary Mobilization for Jobs, Peace and Freedom, to reflect on progress in gaining civil rights for African Americans and to commit to correcting continuing injustices. King's speech is such a part of the Lincoln Memorial story, that the spot on which King stood, on the landing eighteen steps below Lincoln's statue, was engraved in 2003 in recognition of the 40th anniversary of the event.
At the memorial on May 9, 1970, President Richard Nixon had a middle-of-the-night impromptu, brief meeting with protesters who, just days after the Kent State shootings, were preparing to march against the Vietnam War.
As one of the most prominent American monuments, the Lincoln Memorial is often featured in books, films, videogames, and television shows that take place in Washington; by 2003 it had appeared in over 60 films, and in 2009, Mark S. Reinhart compiled some short sketches of dozens of uses of the Memorial in film and television.
Some examples of films include Frank Capra's 1939 film Mr. Smith Goes to Washington, where in a key scene the statue and the Memorial's inscription provide inspiration to freshman Senator Jefferson Smith, played by James Stewart. The Park Service did not want Capra to film at the Memorial, so he sent a large crew elsewhere as a distraction while a smaller crew filmed Stewart and Jean Arthur inside the Memorial.
Many of the appearances of the Lincoln Memorial are actually digital visual effects, due to restrictive filming rules. As of 2017, according to the National Park Service, "Filming/photography is prohibited above the white marble steps and the interior chamber of the Lincoln Memorial."
Mitchell Newton-Matza said in 2016 that "Reflecting its cherished place in the hearts of Americans, the Lincoln Memorial has often been featured prominently in popular culture, especially motion pictures." According to Tracey Gold Bennett, "The majesty of the Lincoln Memorial is a big draw for film location scouts, producers, and directors because this landmark has appeared in a considerable number of films."
Jay Sacher writes:
From high to low, the memorial is cultural shorthand for both American ideals and 1960s radicalism. From Forrest Gump's Zelig-like insertion into anti-war rallies on the steps of the memorial, to the villainous Decepticon robots discarding the Lincoln statue and claiming it as a throne. ... The memorial's place in the culture is assured even as it is parodied.
From 1959 (the 150th anniversary of Lincoln's birth) to 2008, the memorial, with statue visible through the columns, was depicted on the reverse of the United States one-cent coin, which since 1909 has depicted a bust of Lincoln on its front.
The memorial has appeared on the back of the U.S. five-dollar bill since 1929. The front of the bill bears Lincoln's portrait.
The National Mall is a landscaped park near the downtown area of Washington, D.C., the capital city of the United States. It contains and borders a number of museums of the Smithsonian Institution, art galleries, cultural institutions, and various memorials, sculptures, and statues. It is administered by the National Park Service (NPS) of the United States Department of the Interior as part of the National Mall and Memorial Parks unit of the National Park System. The park receives approximately 24 million visitors each year.
The core area of the National Mall extends between the United States Capitol grounds to the east and the Washington Monument to the west and is lined to the north and south by several museums and a federal office building. The term National Mall may also include areas that are also officially part of neighboring West Potomac Park to the south and west and Constitution Gardens to the north, extending to the Lincoln Memorial on the west and Jefferson Memorial to the south.
Washington, D.C., formally the District of Columbia and commonly called Washington or D.C., is the capital city and federal district of the United States. The city is on the Potomac River, across from Virginia, and shares land borders with Maryland to its north and east. Washington, D.C., was named for George Washington, a Founding Father and first president of the United States. The district is named for Columbia, the female personification of the nation.
Washington, D.C., anchors the southern end of the Northeast megalopolis, one of the nation's largest and most influential cultural, political, and economic regions. As the seat of the U.S. federal government and several international organizations, the city is an important world political capital. The city had 20.7 million domestic visitors and 1.2 million international visitors, ranking seventh among U.S. cities as of 2022.
The U.S. Constitution in 1789 called for the creation of a federal district under the exclusive jurisdiction of the U.S. Congress. As such, Washington, D.C., is not part of any state, and is not one itself. The Residence Act, adopted on July 16, 1790, approved the creation of the capital district along the Potomac River. The city was founded in 1791, and the 6th Congress held the first session in the unfinished Capitol Building in 1800 after the capital moved from Philadelphia. In 1801, the District of Columbia, formerly part of Maryland and Virginia and including the existing settlements of Georgetown and Alexandria, was officially recognized as the federal district; initially, the city was a separate settlement within the larger federal district. In 1846, Congress returned the land originally ceded by Virginia, including the city of Alexandria. In 1871, it created a single municipality for the remaining portion of the district, although its locally elected government only lasted three years and elective city-government did not return for over a century. There have been several unsuccessful efforts to make the district into a state since the 1880s; a statehood bill passed the House of Representatives in 2021 but was not adopted by the U.S. Senate. Designed in 1791 by Pierre Charles L'Enfant, the city is divided into quadrants, which are centered around the Capitol Building and include 131 neighborhoods. As of the 2020 census, the city had a population of 689,545, making it the 23rd-most populous city in the U.S., third-most populous city in the Southeast after Jacksonville and Charlotte, and third-most populous city in the Mid-Atlantic after New York City and Philadelphia. Commuters from the city's Maryland and Virginia suburbs raise the city's daytime population to more than one million during the workweek. The Washington metropolitan area, which includes parts of Maryland, Virginia, and West Virginia, is the country's seventh-largest metropolitan area, with a 2023 population of 6.3 million residents.
The city hosts the U.S. federal government and the buildings that house government headquarters, including the White House, the Capitol, the Supreme Court Building, and multiple federal departments and agencies. The city is home to many national monuments and museums, located most prominently on or around the National Mall, including the Jefferson Memorial, the Lincoln Memorial, and the Washington Monument. It hosts 177 foreign embassies and serves as the headquarters for the World Bank, the International Monetary Fund, the Organization of American States, and other international organizations. Many of the nation's largest industry associations, non-profit organizations, and think tanks are based in the city, including AARP, American Red Cross, Atlantic Council, Brookings Institution, National Geographic Society, The Heritage Foundation, Wilson Center, and others.
A locally elected mayor and 13-member council have governed the district since 1973, though Congress retains the power to overturn local laws. Washington, D.C., residents are, on the federal level, politically disenfranchised since the city's residents do not have voting representation in Congress; the city's residents elect a single at-large congressional delegate to the U.S. House of Representatives who has no voting authority. The city's voters choose three presidential electors in accordance with the Twenty-third Amendment.
The District of Columbia was created in 1801 as the federal district of the United States, with territory previously held by the states of Maryland and Virginia ceded to the federal government of the United States for the purpose of creating its federal district, which would encompass the new national capital of the United States, the City of Washington. The district came into existence, with its own judges and marshals, through the District of Columbia Organic Act of 1801; previously it was the Territory of Columbia. According to specific language in the U.S. Constitution, it was 100 square miles (259 km2).
The district encompassed three small cities: Alexandria, formerly in Virginia, Georgetown, formerly Maryland, and the deliberately planned central core, the City of Washington. Both the White House and the United States Capitol were already completed and in use by 1800 as called for by the 1791 L'Enfant Plan for the City of Washington, although the city was not formally chartered until 1802. Beyond those cities, the remainder of the district was farmland organized by the 1801 Act into two counties, Washington County, D.C., on the Maryland side, and Alexandria County, D.C., on the Virginia side, encompassing today's Arlington County, Virginia, and the independent city of Alexandria.
The district was governed directly by the U.S. Congress from the beginning. Alexandria City and County were ceded back from the federal government to the commonwealth of Virginia in 1846, in a process known as retrocession, anticipating the 1850 ban on slave trading (but not slavery) in the district.
Washington and Georgetown retained their separate charters for seventy years, until the District of Columbia Organic Act of 1871. That act cancelled the charters of the towns and brought the entire area within the district borders under one district government, ending any distinction between "the District of Columbia" and "Washington", making the two terms effectively synonymous.
Main article: History of Washington, D.C. § Establishment
Congress determined, in the Residence Act of 1790, that the nation's capital be on the Potomac, between the Anacostia River and today's Williamsport, Maryland, and in a federal district up to 10 miles square. The exact location was to be determined by President George Washington, familiar with the area from his nearby home and properties at Mt. Vernon, Virginia.
Its trans-state location reflected a compromise between the Southern and Northern states. Virginia lobbied for the selection, an idea opposed by New York and Pennsylvania, both of which had previously housed the nation's capital. Maryland, whose State House was older than that of Virginia, and like Virginia a slave state, was chosen as a compromise. At Washington's request the City of Alexandria was included in the district, though with the provision that no federal buildings could be built there. The new capital district was at about the center of the country.
About 2/3 of the original district was in Maryland and 1/3 in Virginia, and the wide Potomac in the middle. The future district was surveyed in 1791–92; 24 of its surviving stone markers are in Maryland, 12 in Virginia. (See Boundary Markers of the original District of Columbia.) Washington decided that the capital's location would be located between the mouth of the Anacostia River and Georgetown, which sits at the Potomac's head of navigation.
As specified by Article One of the United States Constitution, in fact as one of the enumerated powers of section 8, Congress assumed direct administrative control of the federal district upon its creation by the District of Columbia Organic Act of 1801. There was no district governor or executive body. The U.S. House created a permanent Committee on the District of Columbia in January 1808, and the U.S. Senate established its counterpart in December 1816. These committees remained active until 1946. Thus the U.S. Congress managed the detailed day-to-day governmental needs of the district through acts of Congress—an act authorizing the purchase of fire engines and construction of a firehouse, for instance, or an act to commission three new city streets and closing two others in Georgetown.
The five component parts of the district operated their own governments at the lower level. The three cities within the district (Georgetown, the City of Washington, and Alexandria) operated their own municipal governments, each with a continuous history of mayors. Robert Brent, the first mayor of the City of Washington, was appointed directly by Thomas Jefferson in 1802 after the city's organization that year.
The remaining rural territory within the district belonged either to Alexandria County D.C., (district land west of the Potomac outside the City of Alexandria, formerly in Virginia) or to Washington County, D.C., (the unincorporated east side, formerly in Maryland, plus islands and riverbed). Both counties operated with boards of commissioners for county-level government functions. Both counties were governed by levy courts made of presidentially appointed Justices of the Peace. Prior to 1812, the levy courts had a number of members defined by the president, but after that Washington County had 7 members. In 1848, the Washington County levy court was expanded to 11 members, and in 1863 that was reduced by two to nine members.
The language of the establishing act of 1801 omitted any provision for district residents to vote for local, state-equivalent, or federal representatives.
This omission was not related to any constitutional restriction or, apparently, any rationale at all. Legal scholars in 2004 called the omission of voting rights a simple "historical accident", pointing out that the preceding Residence Act of July 16, 1790, exercising the same constitutional authority over the same territory around the Potomac, had protected the votes of the district's citizens in federal and state elections. Those citizens had indeed continued to cast ballots, from 1790 through 1800, for their U.S. House representatives and for their Maryland and Virginia state legislators. James Madison had written in the Federalist No. 43 that the citizens of the federal district should "of course" have their will represented, "derived from their own suffrages." The necessary language simply did not appear in the 1801 legislation.
The prospect of disenfranchisement caused immediate concern. One voice from a public meeting in January 1801, before the bill's passage, compared their situation to those who fought against British taxation without representation in the Revolutionary War—20 years prior. Despite these complaints the bill went into effect as written. Given exclusive and absolute political control, Congress did not act to restore any of these rights until the 1960s. The district still has no voting representation in Congress, and the decisions of its long-sought local government established in 1973 are still subject to close congressional review, annulment, and budget control.
Residents of Alexandria saw no economic advantage from being in the District. No federal buildings could be built on the south side of the Potomac, nor did they have representation in Congress. Some resistance was expressed immediately. One leading figure in the fight to retrocede through the 1820s was Thomson Francis Mason, who was elected mayor of Alexandria, D.C., four times between 1827 and 1830. Also Alexandria was a center of the profitable slave trade – the largest slave-trading company in the country, Franklin and Armfield, was located there – and Alexandria residents were afraid that if the District banned the slave trade, as seemed likely, this industry would leave the city.
To prevent this, Arlington held a referendum, through which voters petitioned Congress and the state of Virginia to return the portion of the District of Columbia south of the Potomac River (Alexandria County) to Virginia. On July 9, 1846, Congress retroceded Alexandria County to Virginia, after which the district's slave traders relocated to Alexandria. The district's slave trade was outlawed in the Compromise of 1850. The penalty for bringing a slave into the district for sale, was freedom for the slave. Southern senators and congressmen resisted banning slavery altogether in the District, to avoid setting a precedent. The practice remained legal in the district until after secession, with the District of Columbia Compensated Emancipation Act signed by Lincoln on April 16, 1862, which established the annual observance of Emancipation Day.
The District of Columbia Organic Act of 1871 created a single new district corporation governing the entire federal territory, called the District of Columbia, thus dissolving the three major political subdivisions of the district (Port of Georgetown, the City of Washington, and Washington County) and their governments. By this time the county also contained other small settlements and nascent suburbs of Washington outside its bounded limits, such as Anacostia, which had been incorporated in 1854 as Uniontown; Fort Totten, dating at least to the Civil War; and Barry Farm, a large tract bought by the Freedmen's Bureau and granted to formerly enslaved and free-born African Americans in 1867.
The newly restructured district government provided for a governor appointed by the president for a 4-year term, with an 11-member council also appointed by the president, a locally elected 22-member assembly, and a five-man Board of Public Works charged with modernizing the city. The first vice-chair of that Board of Public Works was real-estate developer Alexander Robey Shepherd, the architect and proponent of the consolidating legislation. From September 1873 to June 1874, Shepherd would serve as the second, and final, governor of the District.
The Seal of the District of Columbia features the date 1871, recognizing the year the district's government was incorporated.
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.
Model: Olga Sarzyńska
Stylist: Olga/Kamila
MUA: Kamila
Hair Stylist: Kamila
Photographer: Piotr Panas
Strobist info: One EX580 and DIY softbox on the right just a little bit over camera.
One major problem a lot of people mentioned about Lewa is his chest looked too bulky. I thought it was because of the Nuva armor or his wide shoulders (it still might have been), but I raised the neck one stud and I think it looks a bit better. I also changed the chest armoring a bit, adding one stud to his torso so that it fixes many of the proportion issues mentioned by DeeVee.
Problems with getting a good colour balance with the old Agfa colour slide prompted me to render it as a black and white image. Here, former Great Western Railway Small Prairie 2-6-2T No.4588 stands at Kingswear station before heading to back to the start of the 7- mile branch line at Paignton. British Rail had ceded operation of the branch to the operators of the Dart Valley Railway with effect from 1 January 1973.
October 1973
Zorki 4 camera
Agfa CT18 film.
View On Black and large - Press L
“Sono uscito a fare una passeggiata l’altro giorno
ho visto una ragazzina che piangeva lungo la strada
era stata ferita così brutalmente
che diceva non sarebbe più riuscita ad amare
un giorno finirai di piangere ragazzina
e scoprirai ancora una volta che
Due cuori sono meglio di uno
due cuori risolvono i problemi
due cuori sono meglio di uno"
Hahah I saw this sick Aventador pulling out of the Westfield Promenade in Woodland Hills. White is starting to get old but they are still great to see. Please leave feedback. Comments and Favs are always appreciated!! :) I wasn't sure what to post tonight so I just put up this Aventador lol
Here is Arriva Buses Wales VDL Cadet CX04 AXW 2480 is seen at the Bangor bus station as it's operating the route 4A to Llangefni but this one has problems with the front destination board which is not working properly, then they send another bus as 2480 is returning to depot.
La vida, con todos sus altibajos y desafíos, es una experiencia extraordinaria y hermosa. Aunque a veces nos enfrentamos a problemas y obstáculos que pueden parecer abrumadores, es importante recordar que son parte integral denuesto día a día Estos desafíos no solo nos brindan la oportunidad de aprender y crecer, sino que también añaden profundidad y significado a nuestra jornada.
Cada obstáculo superado, cada momento de dificultad superado, nos fortalece y nos enseña lecciones valiosas. Apreciamos más los momentos felices y las alegrías cotidianas cuando hemos experimentado la adversidad. La vida, en su totalidad, se convierte en una amalgama de experiencias diversas que contribuyen a nuestra evolución como individuos.
Además, la belleza de la vida también se encuentra en las pequeñas cosas: una puesta de sol, una risa compartida, el calor del sol en un día frío o el abrazo de un ser querido. Estos momentos simples, pero significativos, son los que añaden color y textura a nuestra existencia.
La vida nos brinda la oportunidad de explorar, descubrir nuestras pasiones, conectar con los demás y contribuir al mundo de maneras únicas. La capacidad de experimentar emociones profundas, de amar y ser amado, de aprender y evolucionar, son regalos preciosos que la vida nos ofrece.
En resumen, la vida es bella en su complejidad. Cada problema, cada desafío, es una oportunidad para crecer y aprender. Valorar los momentos felices, apreciar las pequeñas cosas y cultivar relaciones significativas son aspectos clave para disfrutar plenamente de esta increíble travesía llamada vida.
*CRRASHH*
"No problem. Figured I was only gonna use it once anyway."
"I've got other things to do, Adam. What do you want. How'd you get a Bat-Signal?"
"I could make tons of these if I wanted to, Wayne. You're not the only one with deep pockets. Now, what's it I want? Oh yeah! Give me back my friends."
"I don't follow you."
"Go fuck yourself, Wayne! You know exactly what I mean!"
"I don't have time for this."
*KBANG*
"Did...did you just try to shoot me?"
"I did shoot you, technically. The back of your head. That cowl...what's it, Graphite and heavy kevlar of sorts? This little squirtgun won't do much."
"You little..."
"I didn't drag you out here to kill you, Wayne. I don't have the balls for that. And It wouldn't solve anything."
"You mind telling me just what you're trying to solve? You should have just come to my home instead of calling me out here like this."
"Oh sure! And have your uptight butler basically tell me to fuck off before I step one foot in Wayne Manor? Right..."
"Adam, look-"
"NO! You look! Have you even been paying attention?"
"Paying attention to what?"
"Dumbass piece of---Ever since school started Tim and Steph have looked crappier and crappier as the days go by. They look like fucking cokeheads. And that's not it."
"Adam, it's not--"
"Cody hacked the school for me. Tim and Steph were always grade-A honor roll students. And unlike alot of Brentwood's honor roll elite, they didn't have the personally of a roll of toilet paper. They're two of the greatest people I know. Cody took a look at their recent grades and they're so fucked up Brentwood's considering booting them. And the countless detentions from either tardys or sleeping in class don't help."
"Everything is fine, Adam. I'll--"
"Bullshit! Two of my friends are basically dead! And on top of that they apparently don't have nightjobs anymore thanks to you. What the fuck are you doing to them, huh?! Is this about that shit that went down a month ago? Y'know, the shit they couldn't help."
"They need to be better--"
"They need some sleep! They need some fucking time to get their homework done! They need their costumes! This city needs Robin and Spoiler again! Not you!"
"Stupid kid. You think you understand everything, don't you?"
"NO! I DON'T! And neither do you!"
"Then why am I here!? Why do I have to take this from you!?"
"...I dunno if you'll get this Wayne. But I'll admit, I'm exactly what you probably think I am. A stupid kid with too much time and cash. Not really the standard all humanity should be or anything. I'll admit that. But y'know what? I like to think that I'm at least a worthwhile person. That I'm not a piece of shit and that I deserve the friends I have. Friends that I give a damn for. That's why you're here on my roof. Because I give a damn for my friends. Or your....students, I guess."
"...."
"Y'know something, Wayne? I've seen you a few times in the Paper. Not in your overpriced halloween costume here, but your business suit. As Bruce Wayne, CEO of Wayne enterprises. I remember this one article. It showed an image of you at a homeless shelter helping cook food for a bunch of homeless guys. I remember thinking I would bow at your goddamn feet for being such an awesome person despite all you have and all you've lost."
"...."
"And then there's what stands before me now. The goddamned Batman. Speaks for itself, right? Every kid looked up to the caped crusader. But when I saw you at the warehouse, you giving Tim and Steph all 7 layers of hell for shit they didn't do, and now this... I can hardly look at you without my stomach and bladder switching places..."
"...."
"I can see that look in your eyes. You probably wanna do something along the lines of making my face into a Picasso piece or something. Y'know what? Go ahead. You could get away with it anyway. But what you're doing to my friends? I swear, if it keeps up, I'll find a way to tear you down. Give me back my friends, Wayne. Now."
"...there's another thing about you, Adam. No patience. At least you're just as brave as ever."
"Y'know, I gotta pull my pants down before you kiss my ass, Wayne. I'm not brave. I'm a fucking chickenshit, actually. I wouldn't have a gun on me if I had a pair. I'd face you like a man. Honor doesn't matter to me right now, though...."
"I can see why Tim and Steph are your friends. I suppose they made a better choice than I thought. Good night, Adam."
"Hey, HEY!! You better think about this, Wayne! You'll BURN for it if you don't! No one fucks with my friends! NO ONE!"
Angling the camera upward from that floor shot (and, you know, five months later and all), I was able to get this shot of the café. I didn't have one uploaded previously, so here you go! Note that it's not exactly the most inviting what with all the boxes and other miscellaneous materials crammed everywhere. This problem shouldn't persist in the new, larger café that's probably going to have an exponential increase in the number of tables from these three!
(c) 2016 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
Nikon D7000
Nikkor AF-S 35mm f 1:1.8G - DX
ISO 100
1/400 s
f 1,8
Wackershofen, Baden-Württemberg, Deutschland
www.wackershofen.de/freilandmuseum/cms/front_content.php?...
Intão, Sumido devido a uns problemas pessoais, mas aos poucos vamo voltando, comprei esse 1620 ai 2006 impecável, faz duas semanas que to com ele, já mandei trocar o motor, botei carroça nova, fiz polimento e mais umas parada, amanha ir lá no posto Ampessan bota uns acessórios.
Creditos:
Cabine do Borges
Carroceria do Carneirinho
Resto peguei do 1620 do Ronny
Rodas do Edney
Just been trying some stuff in Lightroom with one of the rutting images I took the other day, I quite liked the result. I'm hoping to get some more shots this weekend, problem is they are not always in the right place at the right time. Most of the action takes place on the golf course at Wollaton Park which is unfortunately private land. I really enjoyed watching these guys in action the other day and the sound of their bellowing calls is so awesome, I love it :o)
I hope that everyone has a most excellent weekend, off to get my 5D back, hope they have done a decent job :o)
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