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“In a while, one of us will go up to bed
and the other one will follow.
Then we will slip below the surface of the night
into miles of water, drifting down and down
to the dark, soundless bottom
until the weight of dreams pulls us lower still.”
~ William Collins
First Light at Barangoo
Capturing an image is an excuse in solving problems …
Access
Security guards at Barangoo have been known to ask Photographers to leave as professional have to pay fees for the use. So in this regard, smile, ask, “How was your night” and answer any questions.
The first visit to the park didn’t go that well as a thin line of clouds blocked the sunrise, I returned a few days later this time with clear skies.
All that was requires was to line up the glass ball and the bridge choose the right aperture and wait for the sun to make an appearance
When the Fontaine du Soleil (Sun Fountain) was unveiled in Place Massena in 1956, people of Nice were not impressed. Apollo’s “job” according to mythology is to carry the sun across the sky every day and he usually does this in his chariot pulled by 4 horses.
But this Apollo didn’t have a chariot and the 4 horses were on top of his head, forming a sort of crown.
The spectators claimed that he looked like an advertisement for the most popular automobile at the time, the Renault 4CV, known as the “4 horsepower”. So the magnificent Greek deity was saddled with the nickname – “the 4 horsepower statue”.
But there was a bigger problem – and it was located further down the nude sculpture. Some conservative inhabitants of the city thought that his “manhood” was too large, while some older ladies thought it was too small, and college students took to decorating it as a prank.
In an effort to calm the controversy, the sculptor took a hammer and chisel to his creation to reduce the size of the offending member. This operation earned Apollo a new nickname. Now, instead of being called “4 horsepower”, he was called “the virgin”.
His embarrassing surgery proved to be insufficient; it wasn’t enough to satisfy the Catholic women’s “League of Feminine Virtue”. He was still nude as were the bronze statues. The virtuous women gained enough support that in the 1970s the fountain with its naked sculptures was dismantled.
The bronze figures were stored at the water treatment plant and Apollo went to stand guard over the Mayor’s office for a short time before he was moved out of the city centre to stand near a sport stadium where he was less likely to offend the ladies. He stayed there for about 30 years.
In 2007 a reporter researching water treatment spotted the bronze statues at the purification station. He wrote an article about the fate of the Sun Fountain and the public took an interest in it. The fountain was reinstalled with the bronze sculptures in the basin – but the giant Apollo was still not allowed to return.
Finally in 2011, Apollo was reinstated to his rightful position. Today he stands at the centre of the fountain in Place Massena proudly surveying the plaza and all of the passer-by. The Sun Fountain is once again complete and as the artist intended. Unfortunately, we can’t say the same for Apollo. But he is quite an impressive sight, even if there is a little less of him than there used to be.
Copyright © John G. Lidstone, all rights reserved.
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Attending to a postal vehicle breakdown in La Crosse, Wisconsin. I never knew the U.S. Post Office had its own tow-trucks . . . live and learn.
Look Guys...You all look like that you have a problem to share......And goodness me......Don't for one moment think I don't know that we have no windows or doors in our new house....Never mind a carpet on the floor......But look on the bright side........ We do have a roof over heads with some fitted benches for seating and a beautiful view to our back yard......And let's not forget that with this size property there will be a lot less housework for you to do......Leaving you much more time for you all to enjoy my guitar playing and singing....What do you mean.....That is the problem!!!!!!!!!!!!!!!!!! .
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PS On a serious note....Halo would like you to know that if you could see just a bit further to the next field.....You not only see sheep ready for lambing ......But the field after is Silverstone....The home of British motorsport......
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No checkout lane soda
Edwardsville, PA. February 2020.
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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com
Yes I am back Things didn't take long to sort out . Silver glitter dress and hold ups. Have a great weekend xx
Pieces from a collaborative exhibition Home Sweet Home with Angela Dalinger at Atomica in London. The show opened August 14th and ran until September 11th 2014.
HOME SWEET HOME
‘Home Sweet Home’ offers a snatched glimpse into a series of imaginary homes. In the exhibition both artists indulge in depicting domestic voyeurism which treads a thin line between the whimsical and the worrying. As we trespass through these residences, we are likely to encounter anything from illegal pets to resident ghosts, wizard’s gardens to troubling personal collections and questionable tastes in decor.
The artists, who are virtual friends and will meet for the first time at the exhibition opening, have worked on their paintings individually, but in reaction to the others work. Presented as a series of paired paintings, the viewer will be taken on a journey through both the interior and exterior of the same invented dwelling, each scene produced by a different artist. Indulging our curious natures, the paintings in ‘Home Sweet Home’ portray private moments in which viewers may pass unnoticed and draw their own conclusions. The artists share a cynical sense of humour and their vision of the world is at once familiar and disturbing, quaint and brutal.
Thankfully has since been fixed.
Olean, NY. March 2022.
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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com
"Apollo and Daphne" by Gian Lorenzo Bernini within the Freedom Mausoleum at Forest Lawn Glendale, California
I have already told Ingrid that next weekend it will be cold but she answered me that she's ready to enjoy it with SquishTish's new outfit. It seems that for her cold is no problem! ️❄️😬
Replacing an earlier scanned slide with a better version 22-Oct-21 (DeNoise AI).
The previous day, 1st April 1982, this aircraft was parked at Manchester, UK in full Laker Airways livery, Laker having ceased trading in Feb-82. During the day on the 1st, intense negotiations had been going on in London between the Laker liquidators and B.Cal for the purchase of Laker's four One-Elevens. Having worked a full day already (I was B.Cal's Station Manager at Manchester), I had to sit in the office until the sale was confirmed.
Just before midnight it was all confirmed and the liquidator's Representative was on his way to the airport with the aircraft log book (Yes, aircraft have log books very similar to the ones for a car in the UK, and no, I didn't know that either!). He arrived at the airport just after 1:00am and, having signed all the paperwork, I became the proud owner of a BAC One-Eleven (well, for a few hours at least!).
Before I went home I called Dan Air Engineering (who looked after our engineering at Manchester) and asked them to paint out the Laker name and put the new registration, G-BKAU, on the aircraft. When I came back next morning they had done the painting but were having problems with the lettering transfers. You'd think that an engineer could have at least put the new registration on straight!
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Delivered to Laker Airways in Feb-67 as G-AVBW, it was sub-leased to Air Congo between Feb/May-68. This aircraft was impounded and stored at Manchester, UK, when Laker Airways ceased operations in 05-Feb-82.
It was repossessed by Nordic Finance in Mar-82 and sold to British Caledonian Airways on 01-Apr-82 as G-BKAU. It didn't stay with B.Cal for long though and was sold to OBS Ltd in Nov-83.
It was immediately sold on to Okada Air, Nigeria, as 5N-AOZ. It was operated by Okada for another 13 years until it was retired at Benin City, Nigeria, in Dec-97 and was subsequently broken up.
Maybe there is someone lucky out there
Maybe there is someone stupid out there
BUT
im sure that there is someone learn his lesson
Been working on a spring swing coat for Skipper. There were many problems to fix including this shoulder seam problem. Once side matched up perfectly the first time. I had to do the second sleeve over twice to get it to line up.
more pics to follow of Skipper's new coat
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.
"Whoga, ma arrrggh!" asked Chewie,
"Oh, I see Chewie, well I am sorry but the little bird helicopter wasn't designed with Wookie's in mind as pilots" answered Jake.
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
The Château de La Ferté-Imbault (Loir-et-Cher) is a stately home in the Loire Valley, France. A fortress of the Middle Ages rebuilt during the Renaissance, it is the largest brick château in Sologne, and one of the oldest. It was the family seat of the House of d'Estampes for four centuries.
The seigneurie (lordship) of La Ferté-Imbault was the largest in the south of Sologne, whose lands included the parishes of Salbris, Saint-Genou (now Selles-Saint-Denis), Marcilly, Loreux and Souesmes. It comprised more than one hundred farms spread over tens of thousands of hectares, stretching from Loreux to Souesmes and from Saint-Viâtre to Theillay.
The château is a large "rectangular building, with large and fine windows, and flanked by four towers ; shrubberies and alleys of mature trees lend an air of grandeur and poetry that strikes both the heart and the imagination". Its position "is quite pleasant and joyful, in a place where the Sauldre divides into several channels ... The red turrets of the château rise amid these waters and this greenery, and crown marvellously the rich picture".
Traces of Roman occupation were found on the site of the present château.
The first medieval fortress was built around 980 by Humbold (or Humbault) Le Tortu, Seigneur de Vierzon and son-in-law of Thibault, comte de Blois. The foundations of the two main towers remain to this day, as does the old armoury. The nearby Sauldre feeds the moat. Hervé I, lord at Vierzon, a descendant of Humbold, on his return from the Crusades, had a collegiate church built in honor of Saint Taurinus. This church and the need to supply the fortress favored the emergence of the village of La Ferté-Imbault around it. In 1280 Jeanne de Vierzon, heiress to the lands of La Ferté-Imbault, married Godfrey of Brabant, comte d'Aerschot, son of Henry III, Duke of Brabant and Adelaide of Burgundy, Duchess of Brabant.
Godfrey of Brabant was the brother-in-law of the King of France, Philip III the Bold. His daughter, Alix de Brabant, married Jean III d'Harcourt in 1302. His marriage to the rich heiress Alix de Brabant, which brought him the seigneurie of La Ferté-Imbault, made him a close relative of Henry III, Duke of Brabant and the kings of France, as Alix was also the niece of the queen of France, Marie de Brabant.
The son of Jean III d'Harcourt and Alix de Brabant, Jean IV, first comte d'Harcourt, married Isabeau de Parthenay. Their son Guillaume d'Harcourt was the seigneur of La Ferté-Imbault. From his marriage to Blanche de Bray, Dame de Cernon, he had one daughter, Jeanne d'Harcourt, Dame de La Ferté-Imbault, who married Hugues de Montmorency. Their sons, Louis and Antoine, died at the Battle of Agincourt (1415) and the Battle of Verneuil (1424) respectively. Their sister, Catherine de Montmorency, inherited the vast estate of La Ferté-Imbault after the deaths of her two brothers.
During the Hundred Years' War, the castle and village were taken and destroyed by the troops of Edward the Black Prince. After belonging for several uninterrupted centuries to the dynasty of Humbold Le Tortu, Seigneur of Vierzon, by the alliance of the families of Brabant, Harcourt and Montmorency, the estate was sold by Catherine de Montmorency to Robert II d'Estampes, Seigneur de Valençay, in 1424. Joan of Arc stayed at La Ferté-Imbault on March 4, 1429.
The castle was rebuilt during the Renaissance. Royal power was present nearby in Blois, and Francis I of France came from neighboring Romorantin.
Partially destroyed by a fire in 1562 during the Wars of Religion, the castle was rebuilt and enlarged by the addition of two residential wings and a large outbuilding in the early seventeenth century by Jacques d'Estampes, marquis de Mauny, the richest landlord of the region, and the grandson of Guillaume de Hautemer, the duc de Grancey, better known as the Maréchal de Fervaques. (Stendhal used this name for one of the characters in The Red and the Black). Jacques d'Estampes, head of the House of d'Estampes, was also the first marquis of La Ferté-Imbault. His eldest son was the Seigneur de Salbris.
Born in the reign of Henry IV, the marquis de La Ferté-Imbault died in the reign of Louis XIV, after fighting alongside Louis XIII, whose bust still adorns the former guardhouse of the château. He was ambassador to England from 1641 to 1643, lieutenant-general of Orléanais, Vendômois and Dunois in 1645, and marshal of France in 1651. Louis XIV made him a knight of the Order of the Holy Spirit in 1661. His friendship with Gaston, Duke of Orléans, brother of Louis XIII (Monsieur, the King's brother), was flawless throughout his life; as a lieutenant of the company of gendarmes of the Duc d'Orléans, in 1620 he had a huge outbuilding constructed at the Château de La Ferté-Imbault to accommodate his company. His wife, Catherine-Blanche of Choiseul (whose godfathers were Maximilien de Béthune, Duke of Sully and the Prince of Rohan and whose father was Charles de Choiseul, marquis de Praslin, advisor to Marie de' Medici, one of the most remarkable men of the end of the sixteenth century), was first lady-in-waiting to la Duchesse d'Orléans.
The château had its apogee in the Grand Siècle. The hearts of the Maréchal d'Estampes and his wife, Madame la Marquise d'Estampes de la Ferté-Imbault, remain at La Ferté-Imbault in the chapel of Saint-Taurinus, under an epitaph. A full-length portrait of the Maréchal d'Estampes de La Ferté-Imbault was painted in 1835 by Jean-Léonard Lugardon for King Louis-Philippe. It hangs in the sixth hall of the marshals, in the Musée de l'Histoire de France at the Palace of Versailles.
In the eighteenth century, the Prince Regent, Philippe II, Duke of Orléans renamed the regiment of Chartres-Infantry the La Ferté-Imbault regiment.
In 1743, King Louis XV acquired the marquisate of La Ferte-Imbault for his mistress, Madame de La Tournelle, on whom he wanted to confer a prestigious title in order to present her to the court. Madame de La Tournelle eventually became Duchesse de Châteauroux.
The last marquise de La Ferté-Imbault was Marie-Thérèse Geoffrin d'Estampes, daughter of the illustrious Madame Geoffrin, whose literary salon in the rue Saint-Honoré was famed throughout Europe and as far away as Russia, where the Empress Catherine II wrote to her as a friend. The marquise, whose magnificent portrait by Jean-Marc Nattier is exhibited at the Fuji Art Museum in Tokyo, enjoyed La Ferté for "the freshness of large chestnut trees that extend their shade". Her presence was requested in Versailles; Louis XV asked her to teach philosophy to his granddaughters, the princesses Elisabeth and Clotilde de France (sisters of the Duc de Berry, future Louis XVI), on the recommendation of the governess of the Enfants de France, Marie Louise de Rohan, comtesse de Marsan. She also gave Madame de Marsan scripts for skits performed by the princesses for the Dauphin and the Dauphine Marie Antoinette. Madame de La Ferté-Imbault was invited to the coronation of Louis XVI in Reims on June 11, 1775.
Madame de La Ferté-Imbault was clever, recognized for her culture and moral qualities. A woman of letters, she regularly attended her mother's salon along with most of the great minds of the Enlightenment: Denis Diderot, Voltaire, Bernard Le Bovier de Fontenelle, Montesquieu her tutor, and Jean le Rond d'Alembert. She never remarried despite her early widowhood and several marriage proposals, including one from Stanisław Leszczyński, King of Poland, father of the Queen of France Marie Leszczyńska, who called the marquise "my Imbault".
Queen of the "Sublime Order of Lanturelus", she resisted the intrigues of the court and won the friendship of the royal family (including Madame Elizabeth, who wrote to her, "You must love, said a princess. I go further, for I love you, Imbault, and I defy my critics and my rivals to find anything to say against my tenderness", and Louis Joseph de Bourbon, Prince de Condé, who invited her to Chantilly and always sought her advice, help and consolation) courtiers and favorites like the Marquise de Pompadour, who was her friend.
In the French Revolution the House of d'Estampes fell, and the Château de La Ferté-Imbault lost influence. The surrounding village was annexed to the neighboring town of Selles-Saint-Denis. The two wings of the château were torn down. The marquis de Pierrecourt, son of Sophie d'Estampes, owner of the château, was imprisoned during the Reign of Terror but later released. He sold the estate in 1807 to the Comte de Belmont, whose widow sold it in 1819 to the comtesse de Grandeffe, Marie-Louise de Poix.
In May 1824, a rich English family, the Lee-Kirbys from Leeds, acquired the estate of La Ferté-Imbault and moved into the château. They modernized local agriculture by adopting English innovations (forage plants and improving crops, such as clover and alfalfa) in their many farms, spread over 5,000 hectares. This foreign family was unappreciated in the village. In the Revolution of 1830, the people of La Ferté-Imbault invaded the château armed with pitchforks and spades, and sought to lynch the fleeing owner. The Protestant family's forceful proselytism led to serious opposition in the village community throughout the nineteenth century, as in 1868 during the construction of the new parish church of Saint-Taurinus, built in front of the main entrance to the château.[5] When William Lee died in 1853, his nephew and niece inherited the estate of La Ferté-Imbault and the estate was divided into two parts, the Sauldre forming the boundary. Mary-Ann Kirby received the château and part of the farms on 3,500 hectares, while Edward Howarth, her brother, received other farms and the area of La Place on the right bank of the river (on which a new château was built between 1880 and 1883), for a total surface of 1,500 hectares.
The village regained its administrative independence in 1860 but faced financial problems. The former collegiate church near the château was destroyed.
The château, whose land was significantly reduced after 1872 to a little over 1,100 hectares, was bought by the Comte Fresson. His niece, Marie Say, one of the richest heiresses of France and owner of the Château de Chaumont-sur-Loire, married Prince Amédée de Broglie, then Louis-Ferdinand d'Orléans-Bourbon, Infante of Spain. Many trips were undertaken between the two châteaux. The park, of about 50 hectares, was surrounded at that time by a brick wall.
The Château de la Ferté-Imbault, sold in 1900 to Dr. Georges Bouilly, then to Henry-René Bertrand, was seized by the Kommandantur on June 17, 1940, and saw four years of German occupation. The building suffered extensive damage in a bombing raid on May 8, 1944.
In August 1960, a "sound and light" show tracing its millennial history was organized in the castle with the voices of actors Madeleine Sologne and André Le Gall.[7] It has since been sold to new private owners but is open to visitors during the summer.
Accept that the fateful knock on our door is really for us, refusing to see where were going, refusing to accept that hard natural laws of planet existence.
Some of my illustrations for "First World Problems", published by Weldon Owen 2013 - www.amazon.co.uk/dp/1616284102
Good advice from Benni Girl. She takes care of the bad stuff and never looks back. Examples:
Booster shot at the vet? Give him a kiss and get a cookie. Bad dog growls in your face? Bounce backwards and walk on by. Mom sick so no morning walk? Snuggle, watch t.v. and get lots of extra patting.
(Not sick now, sorry to mislead you.)
Watch Benni and learn!
Not a very strong shot but I guess I was quite pleased unlike some of my contacts I have had little success photographing insects, the very fact i manage to get a reasonable focus on this one is for me a minor miracle. Another more embarrassing problem is my total lack of knowledge about these creatures I am sure they are very common I am guessing dragonflies but ID would be good ( I was wrong of course they are damselflies thanks Marja)
THANKS FOR YOUR VISIT HAVE A GREAT DAY
Now, this little Ford Fusion was driving down the road with no problem. It did pass me on the right at one juncture. He has a tinted license plate cover. This is the exact location where I was pulled over by a nice LMPD officer who indicated he could not read my plates. He said there was a glare on it and he could not read it 300 ft. away. (Note - the sun was setting at the time). He said the plate cover had some mud on it.
I asked the nice officer if I could get out of the car so he could show me the problem. He said I could.
As I exited the vehicle he grabbed my arm, twisting it, and slammed me into the car and proceeded to cuff me, while stating, "Is this what you like?". I asked why he chose to do that. He said "Because you moved too slow". No, officer. I expect you to be able to see well, hear well and act professionally, as that is your job which you accept a salary for. Your job is not to rough up, bruise and maim individuals you believe you can for the "sport" of it. You were well aware I was not a threat to you and your partner. "Serve and Protect" - remember?
He then said I was being detained and walked me to the back of my car. He took my purse (fanny pack) with him into the patrol car and sat with it over 30 minutes. He did go through my address book as he commented on it's contents when he returned. I suggested to his partner perhaps this officer might want to invest in a good pair of glasses and hearing aids.
He gave me a ticket for "improper display of registration plates". This occurred on Good Friday.
I then drove to Auto Zone with the plate cover. Auto Zone stated they were legal in Kentucky but they did then replace the plate cover with a clear one at my request.
The man at Auto Zone told me he also had a problem, and then went on to tell me about the unlawful searches on others that have occurred here in Louisville. He said men and boys were being bodily searched, unlawfully, by police officers while on the road. This one was fairly recent: youtu.be/LtQG0JlCORI
I met a nice lady today who told me the same thing happened to her, and many of her Church friends. She says they just pay them and don't attempt to fight them, as they want a peaceful existence. Even though they did nothing wrong and the charge was false.
I am inviting others from law enforcement AND the military to visit Louisville - they are welcome to ride in the back seat of my vehicle, hunkered down, if/when the next violation occurs. Without identifying themselves, of course. Let's see if *they* get roughed up. I'm 5/2 and weigh 115 lbs. I wonder if they would do the same to someone who was a male, 6' weighing 250 lbs.
The above car doesn't seem to be having any problems.
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Update: 16 November 2018
Appeared in court - with the help of an outstanding Pubic Defender (Christopher Schramm) all charges were dropped. The attorney also advised me of my right to institute legal proceedings against LMPD if I so chose.
It is indeed unfortunate those with any type of hearing, auditory processing or language barriers are not able to be aware of what, exactly, their rights are.
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Update: April 14, 2023
In light of the recent horrendous mass shooting here in Louisville, KY this week on April 10, 2023, a good deal of retrospect is due. Sometimes seeing both sides of the fight to survive makes a world of difference. My heart breaks for this community, their families, the deceased but most especially for 26 year old LMPD Officer Nickolas Wilt, a rookie police officer who previously served as an EMT, firefighter, and emergency dispatcher and is now clinging to life today. We have shootings here every day but this one....this one hits home.
To the officers involved in my above encounter with them on April 16, 2018 - I do owe you both my sincerest apologies for what transpired. No harm done and I hope we can all rethink our roles in this world. Life is precious. Value it - I am thankful I am not walking in your shoes and proud that you do. Thank you. I do understand now how unimportant and petty the 04/16/18 incident really was and appreciate the learning opportunity from you all. You are indeed heroes.
Who is Louisville rookie Officer Nickolas Wilt? - www.msn.com/en-us/news/crime/who-is-louisville-officer-ni...