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I photographed this colorful character at the Jazz'S Alive show last weekend.
Nikon D300 w/ Sigma 70-200 2.8
PP22 - Policy Statements
H.E. Mr Ishaq Sider
Minister
Ministry of Telecom & IT Palestine
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
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.
PP22 - Policy Statements
H.E. Mr Latsamy KEOMANY
Ambassador, Permanent Representative
Permanent Mission of the Lao PDR to the UN Office and Other International Organisations in Geneva
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
UK Foreign Secretary Philip Hammond gives a welcome speech at the London Conference on Afghanistan.
The London Conference on Afghanistan takes place on 4 December 2014, co-hosted by the governments of the UK and Afghanistan.
The Conference brings together the Afghan government and international community in support of a secure and peaceful future for Afghanistan.
Find out more at:
www.gov.uk/government/topical-events/london-conference-on...
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Picture: Patrick Tsui/FCO
Free-to-use photo
This image is posted under a Creative Commons - Attribution Licence, in accordance with the Open Government Licence. You are free to embed, download or otherwise re-use it, as long as you credit the source as ‘Patrick Tsui/FCO’.
The Nisga'a people are protesting against the proposed deal between Nisga’a Nation elected leaders, TransCanada Pipelines and Pacific Northwest LNG.
Art Gallery, Vancouver, BC
PP22 - Policy Statements
H.E. Mr Puthyvuth Sok
Secretary of State
Ministry of Post and Telecommunications
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
08/07/2020. London, United Kingdom. Summer Statement Cabinet. The Prime Minister Boris Johnson and the Chancellor of the Exchequer Rishi Sunak brief members of the cabinet at the weekly Cabinet meeting inside No10 Downing Street, on the day the Chancellor delivers his summer statement to the House during the coronavirus. Picture by Andrew Parsons / No 10 Downing Street
Statement by H.E. Ambassador Mr Sergio Ugalde Godínez, Permanent Representative of the Republic of Costa Rica to the OPCW at the 22nd Session of the Conference of States Parties to the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands, from 27 November to 1 December 2017.
It was 5.23 pm on 21st august 2004 when Awami League chief Sheikh Hasina was wrapping up a rally protesting Sylhet blasts. A wave of grenade attacks on her left at least 16 people killed and left around 200 persons critically injured including top Awami League leaders Abdur Razzak, Amir Hossain Amu, Suranjit Sengupta, Ivy Rahman and Kazi Zafarullah.
The party secretary on Women affairs Ivy Rahman died in the Hospital later in the day. The unknown assailants fired seven bullets at the bulletproof SUV that Hasina boarded immediately after the blast.
The unusually poor deployment of police at the rally and the absence of forces on nearby building rooftops are a remarkable deviation from the usual practice.
Motaher Hossain, general secretary of AL Krishak League said some people on the roof of Ramna hotel and adjacent building were throwing bombs. At least 13 grenades exploded one after another, and also who were present on the spot told a white Microbus carried of some injured person who were among the assailant and were wounded by their own bomb.
Blame game started at the very moment Hasina spoke out loud about government’s conspiracy to kill the remaining member of Bangabandhu Sheikh Mujiber Rahman’s remaining family members, BNP leaders hold back and Abdul Mannan Bhuiyan commented that they have blamed the government out of emotion. But soon BNP leaders changed their tone and started to blame AL for attacking their own rally, they argued AL had done it to destabilize the country and discredit the government only to grab the power.
Fiction and conspiracy theories were put forward by various columnists in the media. Pro Awami columnists blamed the fundamentalist forces and the right wing coalition government for this attack while pro BNP columnists blamed AL and pointed finger towards the country’s biggest neighbor India.
However most columnists inclined towards Awami league and left parties and leaders and activists of these parties discovered a pattern in the bomb blasts. In most cases secular forces and those who believe in culture, tradition and democratic values had been the target. The same group was behind the attack on Hasina’s rally.
Those pro BNP columnists pick up the same incident and argued Hasina was not the target of those assailants, if she were their target then why none of those grenades fall on the truck and also wrote thousand pages about AL’s possible motive behind this?
Some suspected it as a plot by international Muslim extremist groups; some pointed towards the association of ISI (Inter Services Intelligence); while Jamaat leader Matiur Rahman Nizami believes it is the work of “well known enemies of Islam” who masterminded, through various covert organizations, to carry out such brutal murders.
It became increasingly hard to dig out the truth from these fictions. With conspiracy theories you can use any piece of evidence to either prove or disprove your opinion and you can pick up any particular incident to strengthen your position. Truth has many faces but with conspiracy theory all you can achieve is a thousand shade of the truth and all these are equally probable and could be equally false.
In this present regime we have finally a charge sheet that clearly indicates Awami Leagues position is correct in this issue, RAB and other government intelligence agency finally concluded that Islamic militants are behind this attack and also a small fraction of BNP activists patronized this attack.
But is it the whole truth or only a facade? Lets look at the proceedings of the investigations.
To investigate 21st August 2004 bomb blast then BNP government first employed metropolitan police’s detective branch to investigate this incident, then this case was handed over to the criminal investigation department of Bangladesh Police. Five investigating officer under 3 officers in charge investigated this incident for over 4 years and they had submitted two charge sheet contradicting each other.
What is the progress in this case? When ever you ask this question to a law enforcement officer, a certain reply will be that “we are still investigating this matter. We had some lead but for the sake of this on going investigation we can not tell you anything.” Even after submitting charge sheet against 22 person in June 11, 2008 and acquitting all other person found guilty (on the first charge sheet presented by the CID), still the investigation has not been closed. So far we have 2 persons who claimed that they had actively participated in this failed assassination. On 26th June, 2005 Joj Miah from Noakhali confessed to police that for 5000 taka he carried out this attack under the order of Subrata Bain, a top terrorist. Subrata Bain and his group had close ties with some notorious AL leaders and they fled to India after alliance government took over the state in October 2001. He confessed to a magistrate that he had never seen any grenade before but Subrata Bain, Joy, Molla Masud ordered him to participate in this assassination. ASP of Police [CID] Abdur Rashid was the investigation officer then.
But the government were not satisfied with this finding so led by Munsi Atikur Rahman the investigation continued. The investigation found a paved path established by the coalition government.
So far we have two investigation reports, one of them was by Justice Jaynul Abedin, chairman of the one man investigation committee formed by the government to investigate 21st august grenade attack on Awami leagues rally. Awami League has rejected this report claiming it lacks neutrality. And another one was submitted by the Supreme Court Bar Association. According to Moudud Ahmed, who was Law minister at that time, claimed that this inquiry committee is illegal.
Jaynul Abedin’s investigation report:
Justice Jaynul Abedin had submitted his 162 pages manuscript of coalition governments collective story on 2nd October 2004. He was the member and chairman of one man inquiry committee formed by the government to investigate the grenade attack on Awami League rally on 21st august. On the eve of this submission those authorities in concern had invited journalist to give some insight of the report.
After scrutiny, critical and painstaking analysis, Jaynul Abedin did omit the possibility that coalition government and his ally, some extremist religious group and a part of Awami League was behind this heinous attack on Awami League activists.
But he did claim with certainty that a foreign intelligence agency actively participated in this event. They trained those assailants and equipped them with necessary ammunitions. He described this event on that informal press conference, “this incident is a naked attack on the independence and sovereignty of the country.”
Because Jaynul Abedin was a BNP activist in the past, Awami League questioned the neutrality of the investigation committee. Even though 123 people given their statement to this committee but that does not include Sheikh Hasina, who was the prime target of this massacre. Sheikh Hasina rejected the call for her statement.
In that one and half hour informal briefing on the report prior to its submission Jaynul concluded “the commission may not have received cooperation from all, which may have somewhat hindered the investigation, but the inquiry is in no way incomplete.”
Like any other investigation report submitted by any government formed investigation committee it also embraced the fate to remain unpublished till-to-date.
The Supreme Court Bar Association (SCBA) inquiry committee report:
On 22nd august, 2004, immediately after the grenade attack, The Supreme Court Bar Association formed an inquiry committee. Barrister Kamal Hossain was elected as the chairman of that committee and the other members of this committee were Rokonuddin Mahmud, Abdul Malek, Amir-ul-Islam, M Zahir and Muhammad Ayenuddin.
While Hasina wrapped up the rally, at that very moment a grenade went off loud and it was followed by at least 10 such explosions. Awami League leaders formed a human shield to cover Hasina from the splinter, they were injured in this process and soon after they escorted Hasina to her bullet proof SUV and Hasina left for Sudha Sadan, while on the move that SUV was attacked by bullets. Witnesses on their statement confirmed the SCBA inquiry committee that they had not seen any member of the law enforcing agency in action there.
After inspecting the place of occurrence on 27th august 2004 they went to Sudha Sadan, where Hasina assured the committee her full cooperation to find out the truth. Hasina’s security personal and her driver gave their statement to this committee and this committee also inspected the SUV.
Driver on his statement told the committee that he drove towards the east, then took a left turn and then he drove towards Sudha Sadan through zero point. But police officers deployed at the rally on 21st August on their statement said to inquiry committee, SUV carrying Sheikh Hasina away from that place drove westward, took a right turn, and then went to Sudha Sadan through zero point.
On 16th, 17th, 18th September the committee watched the video tape recorded by ATN, Channel I and NTV. On ATN video tape they saw a young man purposefully looking towards the multi storied Dhaka City Bhaban. Apart from this, on Channel I and NTV footage some suspicious incidents were seen by the committee members.
The inquiry committee sent two letters to Prime Minister Khaleda Zia, requesting her to extend cooperation for the inquiry and to direct the law enforcing agency to cooperate with them in interest of its work.
A letter was sent from the inquiry committee to IGP Shahudul Huq on 29 August 2004 requesting him to direct the police authorities to inform the inquiry committee of the number of persons who were deployed for maintaining the law and order in the public meeting on 21st August 2004 with the descriptions of their duties and locations.
After 3 weeks another letter was sent to him, requesting for his interview. The inquiry committee requested state minister of home affairs, but all of them turned down their request further more the law minister Moudud Ahmed on several occasion said that this inquiry committee had no legal basis and any report of any such illegal committee should not be recognized.
But the government did inform the SCBA inquiry committee that they had done every thing that is possible for them and sent a copy of the statement made by the State Minister for Home Affairs in the Parliament. In that speech the State Minister mentioned that the police made all out efforts to identify the culprits immediately after the incident and within 24 hours a Judicial Inquiry Commission was constituted with a judge of the Supreme Court as the sole Member. He also mentioned that the Government also arranged for an “international” inquiry into the 21st August incident side by side with Bangladesh police investigation and in response to the Government invitation 3 (three) teams from Interpol visited Bangladesh and helped the inquiry. Besides this, the government had also taken cooperation of FBI of USA.
The SCBA inquiry committee made repeated requests at the highest levels of the government for obtaining copies of reports of earlier bomb-blasts, the report of the ‘judicial inquiry’ into the 21 August, 2004 constituted by the Government, and other documents and information, but such requests have till-to-date were turned down.
The Supreme Court Bar Association (SCBA) inquiry committee concluded it was a pre-planned attack, carried out on the basis of a carefully prepared plan, targeting Sheikh Hasina and other leaders and persons attending the rally. The firing of the bullets and grenades on the vehicle by which she was leaving the place of occurrence, confirms that she was the target.
The committee urged government to publish all reports of investigation within one month or else public may lead to believe attempt on Sheikh Hasina’s life was to some extent was patronized by this government.
The alleged HUJI rage against Awami League:
Some columnists claimed in the media that the AL government, after assuming power in 1996 barred Islamic scholars from issuing fatwa’s through a High Court order. The government also came on strong against the right wing protesters and arrested hundreds across the country. This had angered HUJI.
Mufti Abdul Hannan, the operative commander of the banned Harkatul Jihad-al-Islami revealed on 19th November 2006.
“I masterminded all grenade attacks across the country excepting the August 21, 2004 gruesome attack on the AL rally, and three people financed the outfit for carrying out the attacks”
Hannan gave another detailed statement on 1st November 2007:
“Kajol was given the responsibility to collect funds and grenades for the attack. They decided that 12 persons would carry out the attack and Kajol and Abu Jandal would select the commanders of the operation. It was decided that Kajol and Jandal brief the attackers about their positions and Jandal would throw the first grenade after getting instruction from Sayeed. The others would throw their grenades at around the same time. Hannan said the attackers targeted the truck and left the spot individually after the operation.”
However question remains as why HUJI chose to attack Hasina after all those years and during the period when there was a row of political killings of Awami League leaders (Kibria, Ahsan Master etc.) were happening. HUJI members were used but who masterminded the attack?
The BNP connection:
In January 2008, former deputy minister for information of the BNP government Abdus Salam Pintu was arrested for his involvement with the grenade attacks on Awami League rally on August 21 in 2004. He was arrested on the basis of confessional statement made earlier by detained Mufti Hannan who claimed that the attack on the AL rally was planned at the official residence of the former Deputy Minister. Hannan said that Pintu was present at the meeting and later supplied the grenades.
He made startling disclosure to interrogators about the involvement of former State Minister of Home Lutfuzzaman Babar and ‘Hawa Bhaban’ in the grenade attacks. From The New Nation:
“The CID officer said they were certain after the arrest of Mufti Hannan and Pintu that the attack on the AL rally had been aided and abetted by Lutfuzzaman Babar and the Hawa Bhaban.
“To hide the truth, former investigation officer Ruhul Amin, a CID officer, had gone to Pintu’s house several times,” he said, and added, “former State Minister of Home Babar was involved in the entire process and Pintu would regularly inquire with him about the progress.”
Pintu’s counsel Advocate Sanaullah Mia, however, told : “He was implicated only because his cousin Maulana Tajul Islam, a militant leader and an accused in the grenade attack case, had visited his house when Pintu was a Minister,”
HUJI is the culprit but who used them and why?
On June 11, 2008 charges were finally made against 22 persons including top Harkat-ul-Jihad (Huji) leader Mufti Abdul Hannan and BNP leader and former deputy minister Abdus Salam Pintu. Newspaper reports say:
“CID Chief Additional Inspector General Jabed Patwari said HUJI top leaders planned and carried out the attacks to kill Hasina as a few arrested attackers said in their confessional statements that Hasina would harm Islam if she was alive and came to power again.
BNP leader Pintu is not involved with Huji but he has been charged since the attackers had held two meetings at his residence to take decision about the attack.”
But the question remains whether HUJI tried to kill Hasina on their own or it was a political assassination plot linked by BNP to take out the opposition. Like every other political massacre the 21st August grenade attack on Hasina has no clear motive whatsoever and after 4 years of investigation we are not certain whether those who were behind this ghastly attack have finally been exposed. Will we be able to know the truth?
PP22 - Policy Statements
H.E. Mr Darsanand Balgobin
Minister of Information Technology, Communication and Innovation
Ministry of Information Technology, Communication and Innovation
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
08/07/2020. London, United Kingdom. Summer Statement Cabinet. Chancellor of the Exchequer Rishi Sunak on his way to brief members of the cabinet at the weekly Cabinet meeting inside No10 Downing Street, on the day the Chancellor delivers his summer statement to the House during the coronavirus. Picture by Andrew Parsons / No 10 Downing Street
08/07/2020. London, United Kingdom. Summer Statement Cabinet. The Prime Minister Boris Johnson and the Chancellor of the Exchequer Rishi Sunak brief members of the cabinet at the weekly Cabinet meeting inside No10 Downing Street, on the day the Chancellor delivers his summer statement to the House during the coronavirus. Picture by Andrew Parsons / No 10 Downing Street
Yesterday (Wednesday 11 March 2020), officers from Greater Manchester Police and the City of London Police’s Intellectual Property Crime Unit (PIPCU) executed a number of warrants at Great Ducie Street, Manchester.
Officers from GMP and the City of London Police - the national policing lead for fraud – worked alongside UK immigration, meaning a total of 100 officers and staff members were involved in the operation.
The search warrant, which developed from a previous operation that involved the sale and distribution of counterfeit items, saw thousands of labels, computer equipment and cash seized.
Detectives are currently exploring links between the counterfeit operation and Serious Organised Crime, helping to fund criminal activity beyond Greater Manchester.
15 people were arrested, after officers uncovered an estimated £7.5 million worth of branded clothing, shoes and perfume suspected to be counterfeit.
Chief Inspector Kirsten Buggy, of GMP’s North Manchester division, said: “Yesterday’s operation is one of the largest of its kind ever carried out in the area and has taken a meticulous amount of planning and preparation.
“I am thankful to colleagues from the City of London Police, who as the national policing lead for fraud, have worked in partnership with officers from GMP and helped bring about yesterday’s direct action. I am also grateful to those from UK Immigration for their help.
“Such partnerships are absolutely vital when tackling counterfeit operations, as they bring specialisms from across the country together in a bid to make an impactive and real difference. Steps such as yesterday are often only the start when it comes to investigating the scale of these operations and we will continue to work in conjunction with the City of London’s Intellectual Property Crime Unit to tackle this type of offending to its’ very core.
“It is important to recognise the far-reaching and serious impact of sophisticated and large scale counterfeit operations such as this one; and I would like to take this opportunity to remind members of the public of the repercussions of this kind of offending and the link to organised criminal activity. Please be under no illusion- this type of crime is not victimless.”
Police staff investigator Charlotte Beattie, of the City of London Police’s Intellectual Property Crime Unit (PIPCU), said:
“The counterfeit goods business is a deceiving one and the key message to be take away from this operation, is that counterfeiting is not a victimless crime.
“An individual may think that when buying counterfeit goods they are only affecting a multi-million pound brand, and won’t matter, when in fact they are helping to fund organised criminal activity. Counterfeit goods also pose a health risk to individuals as they usually are not fit for purpose or have not gone through the legal health and safety checks.
“Working in partnership has ensured that today’s operation has been a success. We will continue to work with Greater Manchester Police and UK Immigration to tackle the scourge of the counterfeit goods problem.”
To find out more about Greater Manchester Police please visit our website. www.gmp.police.uk
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk.
Statement of Significance
Last updated on - March 6, 2000
What is significant?
The North West Hospital, Parkville Campus (formerly Mount Royal Hospital) consists of a complex of buildings constructed and modified over a long period of time, the earliest being from 1874-75. Privately leased from 1863, the land was assumed in the 1870s by the government to build a training school and benevolent home for homeless children. The nucleus of the building at Royal Park was erected in 1874-75 by Pearson and Downie for the Public Works Department. The first building was used as a girls' industrial school until a change of government policy in 1880 abandoned the concept in favour of the 'boarding out' of homeless children. After temporary use as a boys' industrial school the building was left vacant in 1881-82. In 1882 the former Industrial School became the new home for male 'Houseless and Destitute Persons' under the aegis of the Immigrants' Aid Society, and within two years was recognised as also serving a hospital function for the aged. In 1902 the name changed and again in 1932 the institution's name was changed, to the 'Victorian Benevolent Home and Hospital for the Aged and the Infirm'. A substantial building programme over thirteen years from 1926 was evidence of that change of status. Echoing the two-storey courtyard effect of the original building was the Women's Division Building (1936). The Nurses' Home (1926, extended 1938-39) was also designed on a scale commensurate with the 1874-75 building. Extensive landscaping works at that time were designed to give unity and dignity to the complex. Further additions and alterations, many in an ad-hoc fashion, have been made since that time.
How is it significant?
The North West Hospital, Parkville Campus (formerly Mount Royal Hospital) is of social, historical and architectural significance to the State of Victoria.
Why is it significant?
The North West Hospital, Parkville Campus (formerly Mount Royal Hospital) is of social and historical importance for its origins on part of the site of a former Model Farm; and for its tangible associations with several institutions of great significance in the history of social welfare in Victoria. It is the direct successor to a unique and invaluable institution in colonial society, the Immigrants' Aid Society. The Society gave shelter and support to many indigent and unfortunate new arrivals in Victoria at the time of the gold rushes and then evolved into a foremost charitable institution taking responsibility for the aged. The Hospital has been intimately and continuously involved with the development of aged care and rehabilitation at this site since 1882 to the present day. The site is also of significance for its association with the Industrial School (one of only three built in Victoria. The major buildings and landscaping of the Hospital reflect not only the evolution of the institution itself but also the changing approaches to care of the aged and infirm. The place itself is of historic interest for its association with a Model Farm which once existed on site. 142 acres were excised from the Royal Park reserve by the Victorian government in 1858 to establish a place to demonstrate and test farming methods. There is no certain evidence of any landscape or structural features remaining from that time.
The North West Hospital, Parkville Campus (formerly Mount Royal Hospital) is of architectural importance for the 1874-75 buildings, particularly the fine internal courtyard. It is an important reflection of government policy towards dealing with the problem of homeless children in that era. A detail of special note is the rare wrought iron lattice work used in the arches of the upper walkway. Of associated importance is the complex of major buildings, notably the Women's Division, the Nurses' Homes and the Ambrose Pratt Memorial Chapel which illustrate the changing use of the site from 'Industrial School' to 'Home of the Aged' to a specialist geriatric hospital. Of interest are two timber pavilions of uncertain provenance situated in the garden, one of which was used as a receiving office for inmates during the 1930s, while the other may have been a cabmen's shelter moved to the hospital for use as a shed or shelter.
- See more at: vhd.heritagecouncil.vic.gov.au/places/899#sthash.pHE2aecj...
PP22 - Policy Statements
H.E. Mr Ishaq Sider
Minister
Ministry of Telecom & IT Palestine
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
Kit: M3 April 2017 Add On Elements by Little Butterfly Designs at the-lilypad.c...3-April-17.html
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Fonts: Birch Std and Calamity Jane
PP22 - Policy Statements
H.E. Mr Behzad AHMADI
Deputy Minister and Head of Center of International relations of Information and Communication
Ministry of Information and Communications Technology
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
Statement by Federal Chancellor Sebastian Kurz during the EP plenary session on 15 January 2019. Copyright BKA/Arno Melicharek
PP22 - Policy Statements
H.E. Ms Bella Cherkesova
Deputy Minister
Ministry of Digital Development, Communications and Mass Media
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP-22 - Policy Statements
Mr Ian Mak
Assistant Chief Executive, International
Infocomm Media Development Authority
Bucharest, Romania
28th September 2022
©ITU/Rowan Farrell
With a captivating healthcare administration personal statement sample you will find out how stellar and winning admission documents look like! Check even more samples here - www.personalstatementwritingservices.net/medical-school-p...
This image was captured in New Delhi, in December 2013 around the time of India's national election. When you vote, your index or ring finger are inked to indicate that you have voted. This symbol has the middle finger inked and is a political statement for "Don't Vote".
Don't_Vote_7798ec