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Do you know someone with superpowers? I do! Jake Edwards is an amazing teen who shares his powerful message on autism awareness and safety with local police officers as part of their training. This is my sketchnote summary of Jake's story.
Early eighteenth century copy
Oil on canvas
National Museum of Finland, Helsinki.
Counter-clockwise from the top right are the son, son, grandson and son of the Swedish King Gustavus I Vasa, who is shown in the painting to the left of this one in the photo stream.
They are Erik XIV, John III, Sigisimund III and Charles IX. Their lives span the period from 1533 to 1611. Sweden's ascent to European superpower status began in 1611 with the rule of Charles IX's son Gustavus Adolphus.
Erik XIV (1533-1577)
King 1560-1568
Son of Gustavus I Vasa and Princess Catherine of Saxony-Lauenberg (d. 1535)
Eric XIV (Swedish: Erik XIV; 13 December 1533 – 26 February 1577) was King of Sweden from 1560 until he was deposed in 1568. Eric XIV was the eldest son of Gustav I (1496–1560) and Catherine of Saxe-Lauenburg (1513–35). He was also ruler of Estonia, after its conquest by Sweden in 1561.
While he has been regarded as intelligent and artistically skilled, as well as politically ambitious, early in his reign he showed signs of mental instability, a condition that eventually led to insanity. Some scholars claim that his illness began early during his reign, while others believe that it first manifested with the Sture Murders.
Eric, having been deposed and imprisoned, was most likely murdered. An examination of his remains in 1958 confirmed that he probably died of arsenic poisoning.
en.wikipedia.org/wiki/Eric_XIV_of_Sweden
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John III (1537-1592)
King 1568-1592
Son of Gustavus I Vasa and Margareta Leijonhufvud (d. 1551)
John III (Swedish: Johan III, Finnish: Juhana III) (20 December 1537 – 17 November 1592) was King of Sweden from 1568 until his death. He was the son of King Gustav I of Sweden and his second wife Margaret Leijonhufvud. He was also, quite autonomously, the ruler of Finland, as Duke John from 1556 to 1563. In 1581 he assumed also the title Grand Prince of Finland. He attained the Swedish throne after a rebellion against his half-brother Eric XIV. He is mainly remembered for his attempts to close the gap between the newly established Lutheran Church of Sweden and the Catholic church.
His first wife was Catherine Jagellonica of the Polish-Lithuanian ruling family, and their son Sigismund eventually ascended both the Polish-Lithuanian and Swedish thrones.
en.wikipedia.org/wiki/John_III_of_Sweden
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Sigisimund III (1566-1632)
King 1592-1599/1600
Son of John III and Catherine Jagellonica
Sigismund III Vasa (also known as Sigismund III of Poland, Polish: Zygmunt III Waza, Swedish: Sigismund, Lithuanian: Žygimantas Vaza, English exonym: Sigmund; 20 June 1566 – 30 April 1632 N.S.) was King of Poland and Grand Duke of Lithuania, monarch of the united Polish–Lithuanian Commonwealth from 1587 to 1632, and King of Sweden (where he is known simply as Sigismund) from 1592 as a composite monarchy until he was deposed in 1599. He was the son of King John III of Sweden and his first wife, Catherine Jagellonica of Poland.
Elected to the throne of the Polish–Lithuanian Commonwealth, Sigismund sought to create a personal union between the Commonwealth and Sweden (Polish–Swedish union), and succeeded for a time in 1592. After he had been deposed in 1599 from the Swedish throne by his uncle, Charles IX of Sweden, and a meeting of the Riksens ständer (Swedish Riksdag), he spent much of the rest of his life attempting to reclaim it.
Shortly after his victory over his internal enemies, Sigismund took advantage of a period of civil unrest in Muscovy (known as the Time of Troubles) and invaded Russia, holding Moscow for two years (1610–12) and Smolensk thereafter.
In 1617 the Polish–Swedish conflict, which had been interrupted by an armistice in 1611, broke out again. While Sigismund's army was also fighting Ottoman forces in Moldavia (1617–21), King Gustavus II Adolphus of Sweden (Charles IX's son) invaded Sigismund's lands, capturing Riga (1621) and seizing almost all of Polish Livonia.
Sigismund, who concluded the Truce of Altmark with Sweden in 1629, never regained the Swedish crown. His Swedish wars resulted, moreover, in Poland's loss of Livonia and in a diminution of the kingdom's international prestige.
Sigismund remains a highly controversial figure in Poland. His long reign coincided with the apex of the Polish–Lithuanian Commonwealth's prestige, power and economic influence. On the other hand, it was during his reign that the symptoms of decline leading to the Commonwealth's eventual demise surfaced. Popular histories, such as the books of Paweł Jasienica, tend to present Sigismund as the principal source of these destructive processes; whereas academic histories are usually not as damning of him. However, the question of whether the Commonwealth's decline was caused by Sigismund's decisions or had its roots in historical processes beyond his personal control, remains a highly debated topic.
He was commemorated in Warsaw with Sigismund's Column, commissioned by his son and successor, Władysław IV.
en.wikipedia.org/wiki/Sigismund_III_Vasa
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Charles IX (1550-1611)
King 1604-1611
Son of Gustavus I Vasa and Margareta Leijonhufvud (d. 1551)
Charles IX, also Carl (Swedish: Karl IX; 4 October 1550 – 30 October 1611), was King of Sweden from 1604 until his death. He was the youngest son of King Gustav I and his second wife, Margaret Leijonhufvud, brother of Eric XIV and John III, and uncle of Sigismund who was king of both Sweden and Poland.
By his father's will he got, by way of appanage, the Duchy of Södermanland, which included the provinces of Närke and Värmland; but he did not come into actual possession of them till after the fall of Eric and the succession to the throne of John in 1568.
The Swedish kings Eric XIV (1560–68) and Charles IX (1604–1611) took their numbers according to a fictitious History of Sweden. He was actually the third Swedish king called Charles.
He came into the throne by championing the Protestant cause during the increasingly tense times of religious strife between competing sects of Christianity. In just over a decade, these would break out as the Thirty Years' War. These conflicts had already caused the dynastic squabble rooted in religious freedom that deposed his nephew and brought him to rule as king of Sweden.
His reign marked the start of the final chapter (dated 1648 by some) of both the Reformation and Counter-reformation.
With [the death of his brother John III] in November 1592, the throne of Sweden went to his nephew and Habsburg ally, Sigismund of Poland and Sweden.
During these tense political times, Charles viewed the inheritance of the throne of Protestant Sweden by his devout Roman Catholic nephew with alarm. Thus, several years of religious controversy and discord followed.
During the period, he and the Swedish privy council ruled in Sigismund's name while he stayed in Poland.
After various preliminaries, the Riksens ständer forced Sigismund to abdicate the throne to Charles IX in 1595.
This eventually kicked off nearly seven decades of sporadic warfare as the two lines of the divided House of Vasa both continued to attempt to remake the union between the Polish and Swedish thrones with opposing counter-claims and dynastic wars.
Quite likely, the dynastic outcome between Sweden and Poland's house of Vasa exacerbated and radicalized the later actions of Europe's Catholic princes in the German states such as the Edict of Restitution. In fact, it worsened European politics to the abandonment or prevention of settling events by diplomacy and compromise during the vast bloodletting that was the Thirty Years' war.
en.wikipedia.org/wiki/Charles_IX_of_Sweden
The Swedish Empire
The Swedish Empire (Swedish: Stormaktstiden, "Great Power Era") was a European great power that exercised territorial control over much of the Baltic region during the 17th and early 18th centuries.
The beginning of the Empire is usually taken as the reign of Gustavus Adolphus, who ascended the throne in 1611, and the end as the loss of territories in 1721 following the Great Northern War.
After the death of Gustavus Adolphus in 1632, the empire was controlled for lengthy periods by part of the high nobility, most prominently the Oxenstierna family, acting as tutors for minor regents.
The interests of the high nobility contrasted with the uniformity policy (i.e., upholding the traditional equality in status of the Swedish estates favoured by the kings and peasantry).
After the victories in the Thirty Years' War, Sweden reached the climax of the great power era during the Second Northern War, when primary adversary Denmark was neutralized by the Treaty of Roskilde in 1658.
However, in the further course of this war, as well as in the subsequent Scanian War, Sweden was able to maintain her empire only with support of her closest ally, France. Charles XI of Sweden consolidated the empire and ensured a period of peace, before Russia, Saxony and Denmark started a concerted attack on his successor, Charles XII.
After initial Swedish victories, Charles XII secured the empire for some time in the Peace of Travendal (1700) and the Treaty of Altranstädt (1706), before the Battle of Poltava (1709) finally brought the great power era of Sweden to an end.
Recently out-shopped from Eastleigh Works 'Crompton' 33043 pilots sister locomotive 33008 'Eastleigh' on the 1410 London Waterloo to Salisbury at Clapham Junction on 23rd August 1981.
© Copyright Gordon Edgar - No unauthorised use.
The Welsh Highland Railway operates a stud of Beyer Garratt locomotives to work its reconstructed 25-mile line between Caernarfon and Porthmadog. No.143 in the WHR roster was built for South African Railways as a member of the NGG16 Class. It was supplied by Beyer Peacock’s factory in Gorton, Manchester in 1958, the company’s final steam locomotive.
April 2013
Rollei 35 camera
Fujichrome 100 camera.
• Jillstyler Cosplay as Power Girl
• Florencia Sofen Muir from`[Clint and Jillian Cosplay & Photography] as Supergirl
DC Comics
• Photo: Jonathan Durán
A haze filled the air as the sun began it's descent beyond the horizon. The heat which had been suffocating throughout the day would soon give way to the storm that was approaching from the east. Jeremiah Corbeau spent the entire day checking his gator traps as the season was winding down and the light of day was getting scarce. It was eerily quiet where the sound of crickets, bullfrogs, and the various marsh birds should have been. All that could be heard was the sloshing of Jeremiah's boots through the shallow waters and the buzzing of insects swarming by. He ventured further into the bayou, having lost his marker for where his trap should have been. The light decreased and a breeze picked up. The buzzing of insects grew louder. A pounding began in Jeremiah's head and his back broke out in a cold sweat. Anger began to take hold and his already grim demeanor intensified as he pressed on. Jeremiah drew his Bowie knife, determined to make something pay for his foul mood. A sense of paranoia made him look over his shoulder more than once. He didn't want to get caught in the storm out here in the swamp, but was frustrated beyond reason. Gone was his caution, gone was his rational. Louder was the buzzing, louder was the pounding in his head. He grit his teeth and a maddening overcame him, so fierce that it threatened to make him blackout. Then the buzzing stopped and the pounding subsided. An eerie green glow directly in front of him appeared at the edge of the water, against a young bald-cypress tree. A wooden mask lay at his feet, it's paint slightly worn and faded. A humming emanated from it, different from the mosquitoes swarming about. A faint chanting called out and the glow pulsed as Jeremiah came closer. Pulling the mask from the water, he expected to feel a jolt but was instead greeted with a warm feeling all around him. He brushed away some grass that held onto the edges on the mask. The feeling slowly surged throughout his body and compelled him to try it on. A euphoric sensation swept over him as the eye holes fit perfectly over his face. He drank in the feeling for a short moment and then removed the mask. Jeremiah stared at it a while longer before putting it in his satchel and heading back to his boat. It had become dark now, but Jeremiah was not concerned. He now had a new sense of direction in his life. The mask was like a long lost friend that he was eager to get reacquainted with. A friend that had all kinds of new tricks to show him and eager to show them off to an unwilling audience.
Built for the League of Lego Heroes
Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962. Long after her death, Monroe remains a pop culture icon. In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.
Born and raised in Los Angeles, Monroe spent most of her childhood in a total of 12 foster homes and an orphanage before marrying James Dougherty at age sixteen. She was working in a factory during World War II when she met a photographer from the First Motion Picture Unit and began a successful pin-up modeling career, which led to short-lived film contracts with 20th Century Fox and Columbia Pictures. After a series of minor film roles, she signed a new contract with Fox in late 1950. Over the next two years, she became a popular actress with roles in several comedies, including As Young as You Feel and Monkey Business, and in the dramas Clash by Night and Don't Bother to Knock. Monroe faced a scandal when it was revealed that she had posed for nude photographs prior to becoming a star, but the story did not damage her career and instead resulted in increased interest in her films.
By 1953, Monroe was one of the most marketable Hollywood stars. She had leading roles in the film noir Niagara, which overtly relied on her sex appeal, and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire, which established her star image as a "dumb blonde". The same year, her nude images were used as the centerfold and cover of the first issue of Playboy. Monroe played a significant role in the creation and management of her public image throughout her career, but felt disappointed when typecast and underpaid by the studio. She was briefly suspended in early 1954 for refusing a film project but returned to star in The Seven Year Itch (1955), one of the biggest box office successes of her career.
When the studio was still reluctant to change Monroe's contract, she founded her own film production company in 1954. She dedicated 1955 to building the company and began studying method acting under Lee Strasberg at the Actors Studio. Later that year, Fox awarded her a new contract, which gave her more control and a larger salary. Her subsequent roles included a critically acclaimed performance in Bus Stop (1956) and her first independent production in The Prince and the Showgirl (1957). She won a Golden Globe for Best Actress for her role in Some Like It Hot (1959), a critical and commercial success. Her last completed film was the drama The Misfits (1961). Monroe's troubled private life received much attention as she struggled with addiction and mood disorders. Her marriages to retired baseball star Joe DiMaggio and to playwright Arthur Miller were highly publicized; both ended in divorce. On August 4, 1962, she died at age 36 from an overdose of barbiturates at her Los Angeles home. Her death was ruled a probable suicide.
Batman is a superhero appearing in American comic books published by DC Comics. The character was created by artist Bob Kane and writer Bill Finger, and debuted in the 27th issue of the comic book Detective Comics on March 30, 1939. In the DC Universe continuity, Batman is the alias of Bruce Wayne, a wealthy American playboy, philanthropist, and industrialist who resides in Gotham City. Batman's origin story features him swearing vengeance against criminals after witnessing the murder of his parents Thomas and Martha as a child, a vendetta tempered with the ideal of justice. He trains himself physically and intellectually, crafts a bat-inspired persona, and monitors the Gotham streets at night. Kane, Finger, and other creators accompanied Batman with supporting characters, including his sidekicks Robin and Batgirl; allies Alfred Pennyworth, James Gordon, and Catwoman; and foes such as the Penguin, the Riddler, Two-Face, and his archenemy, the Joker.
Kane conceived Batman in early 1939 to capitalize on the popularity of DC's Superman; although Kane frequently claimed sole creation credit, Finger substantially developed the concept from a generic superhero into something more bat-like. The character received his own spin-off publication, Batman, in 1940. Batman was originally introduced as a ruthless vigilante who frequently killed or maimed criminals, but evolved into a character with a stringent moral code and strong sense of justice. Unlike most superheroes, Batman does not possess any superpowers, instead relying on his intellect, fighting skills, and wealth. The 1960s Batman television series used a camp aesthetic, which continued to be associated with the character for years after the show ended. Various creators worked to return the character to his darker roots in the 1970s and 1980s, culminating with the 1986 miniseries The Dark Knight Returns by Frank Miller.
DC has featured Batman in many comic books, including comics published under its imprints such as Vertigo and Black Label. The longest-running Batman comic, Detective Comics, is the longest-running comic book in the United States. Batman is frequently depicted alongside other DC superheroes, such as Superman and Wonder Woman, as a member of organizations such as the Justice League and the Outsiders. In addition to Bruce Wayne, other characters have taken on the Batman persona on different occasions, such as Jean-Paul Valley / Azrael in the 1993–1994 "Knightfall" story arc; Dick Grayson, the first Robin, from 2009 to 2011; and Jace Fox, son of Wayne's ally Lucius, as of 2021. DC has also published comics featuring alternate versions of Batman, including the incarnation seen in The Dark Knight Returns and its successors, the incarnation from the Flashpoint (2011) event, and numerous interpretations from Elseworlds stories.
One of the most iconic characters in popular culture, Batman has been listed among the greatest comic book superheroes and fictional characters ever created. He is one of the most commercially successful superheroes, and his likeness has been licensed and featured in various media and merchandise sold around the world; this includes toy lines such as Lego Batman and video games like the Batman: Arkham series. Batman has been adapted in live-action and animated incarnations, including the 1960s Batman television series played by Adam West and in film by Michael Keaton in Batman (1989), Batman Returns (1992), and The Flash (2023), Val Kilmer in Batman Forever (1995), George Clooney in Batman & Robin (1997), Christian Bale in The Dark Knight trilogy (2005–2012), Ben Affleck in the DC Extended Universe (2016–2023), and Robert Pattinson in The Batman (2022). Kevin Conroy, Diedrich Bader, Jensen Ackles, Troy Baker, and Will Arnett, among others, have provided the character's voice.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
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It's interesting how some people manage to be invisible while being in a plain sight. Actually my grandad once told me it's the best hiding spot, because nobody really pays attention to something you see every day. So the crowd just pass by, everybody is busy with their own thoughts and problems. But if you know where to look... you can see other folks of your kind anywhere.
Well, like-minded people are always there somewhere. It's like, first it just the crowd, but when you start to watch Doctor Who, suddenly you notice Whovians everywhere - oh, look, it's not just a blue backpack, it's the Tardis backpack! And people around have no idea! Like a secret language only true fans can understand!
I did a thought experiment, I tried to notice... well, something less well-known. But the only time I succeeded I realized I had no idea what to do with my new observation next, because I should have bring something similar with me to be able to show that I recognized it, and of course, I totally forgot it in the home, because I like that item and so I never bring it anywhere (just like my ten or so different Lego key rings - I don't use any on my keys to not destroy the minifigures). It was quite sad - you see the message, but you can't answer.
The scene with totally new characters was inspired by a very short scene from one music video, but this time I won't say which one - as always, I had quite a different take on it, because it's spooky month and everything is better with werewolves! xD I want the scene to be perceived separately from any original source of inspiration (or else some of the people who like the original may not like my version), though it may (or may not! it's up to interpretation) have been the same story, just different characters.
A haze filled the air as the sun began it's decent beyond the horizon. The heat which had been suffocating throughout the day would soon give way to the storm that was approaching from the east. Jeremiah Corbeau spent the entire day checking his gator traps as the season was winding down and the light of day was getting scarce. It was eerily quiet where the sound of crickets, bullfrogs, and the various marsh birds should have been. All that could be heard was the sloshing of Jeremiah's boots through the shallow waters and the buzzing of insects swarming by. He ventured further into the bayou, having lost his marker for where his trap should have been. The light decreased and a breeze picked up. The buzzing of insects grew louder. A pounding began in Jeremiah's head and his back broke out in a cold sweat. Anger began to take hold and his already grim demeanor intensified as he pressed on. Jeremiah drew his Bowie knife, determined to make something pay for his foul mood. A sense of paranoia made him look over his shoulder more than once. He didn't want to get caught in the storm out here in the swamp, but was frustrated beyond reason. Gone was his caution, gone was his rational. Louder was the buzzing, louder was the pounding in his head. He grit his teeth and a maddening overcame him, so fierce that it threatened to make him blackout. Then the buzzing stopped and the pounding subsided. An eerie green glow directly in front of him appeared at the edge of the water, against a young bald-cypress tree. A wooden mask lay at his feet, it's paint slightly worn and faded. A humming emanated from it, different from the mosquitoes swarming about. A faint chanting called out and the glow pulsed as Jeremiah came closer. Pulling the mask from the water, he expected to feel a jolt but was instead greeted with a warm feeling all around him. He brushed away some grass that held onto the edges on the mask. The feeling slowly surged throughout his body and compelled him to try it on. A euphoric sensation swept over him as the eye holes fit perfectly over his face. He drank in the feeling for a short moment and then removed the mask. Jeremiah stared at it a while longer before putting it in his satchel and heading back to his boat. It had become dark now, but Jeremiah was not concerned. He now had a new sense of direction in his life. The mask was like a long lost friend that he was eager to get reacquainted with. A friend that had all kinds of new tricks to show him and eager to show them off to an unwilling audience.
Built for the League of Lego Heroes
The classic Batman costume. Nothing has quite come close to it since. Neil Adams and Jim Aparro and Dennis O'neil what I think when I think of when I think classic Bats. Good times, the best if you ask me.
Kenner's Super Powers line was really what got me hooked on DC Comics. When I was a kid this was one of my most covetted figures! Just couldn't seem to find him anywhere. Now he stands proud alongside his killer ride and trusty sidekick.
History:
Sylvia Ouellet moved to New Blok City as an aspiring dance student. She discovered her powers by accident one night after a rehearsal. She became a target for two thugs that had been following her to her apartment. Rather than become the victim, she fought back. Her fighting skills were not only enhanced, but her shadow manifested itself to aid her in combat. Sylvia spent the next few weeks focusing on her new abilities. A short time later, one of her classmates experienced the same fate she almost had, but with a tragic result. The incident motivated Sylvia to protect others from the same outcome. She borrowed some items from her school’s costume department and began to call herself Sable. It wasn’t long before she found herself cleaning the back alleys of the two legged trash that prowled the streets. Every encounter became more violent and an unnatural hunger drove her carry on her vigilance. A chance meeting with Creed when he pursued a criminal into her territory would change everything. The two struck up a friendship, but her powers would reveal themselves as something much more sinister than had been thought. A dark entity which was the source of her powers would become jealous of Creed and manifest itself. After an epic battle, Sable freed herself of the entity with Creed’s help. The trauma would strip Sable of her powers and sidelined the heroine for a while. She would retain her increased strength and agility along with the skills she acquired, but her shadow control was no longer present. It is unknown if any other abilities were retained, but once she gets back on her feet; Sable will be fighting the darkness of New Blok City once again. This time though it will be on her terms.
Built for the League of Lego Heroes
This is a quick summary of the chart I use for comparing strength, agility, and intellect for my characters. It is meant as a guideline on how I rate abilities and powers. It's also based on Marvel, so I could answer some questions on how those heroes or villains are rated by comparison. Enjoy.
70809, 70817, 70815 & 70808 on 6X50 Westbury Down TC to Bescot Up Engineers Sidings passing Warwick. 11/7/22.
RD6666. Now there’s a sight that you don’t see every day!
Not one, not two, but three 2-6-2 + 2-6-2 Beyer-Garratts triple headed the 13.25 from Caernarfon between Beddgelert and Porthmadog on Sunday, 11th September, 2011.
My wide angle lens was only just wide enough to get them all in! Superpower, or what?!
Copyright © Ron Fisher.
Looking for a weird T-shirt? Visit the Florida tourist shops and you'll find one to meet your every need.
I thought that I'd throw in a bit of humor during these trying times.
You would not believe how long it took me to make this lol but I really learned alot. A huge influence for this shot goes to boy wonder www.flickr.com/photos/joel_r/4730910782/ his photos are amazing and got me into a super powered mood :) (Taken for the topic portrait)
Naming a hero or villain can be challenging. What I find to be the tricky part is not just picking a cool name, but picking a cool name that isn’t already used. When I make a new character, I usually go through this process…..sometimes not in the exact order. “What powers do they have? What do I want the costume to look like? Is their persona related to a specific object or event?” Once I get these questions out of the way, I look to see if adding something like a color, animal, or some other adjective that might help accent the name. A resource I like to use is the ever reliable Wikipedia. :P One thing Wikipedia is great for is to see if a name for a character is used and more importantly how popular it is. I don’t like to use names of popular characters because for me it’s hard to get past the general thinking of the widely known version. Suppose I name a hero “Batman.” Everyone has an idea of what and who Batman is. However if I name a villain “Komodo”, then I’m not worried that the name is used by some obscure character in both Marvel and DC. My general guideline is that if it isn’t in a modern movie, TV show, or cartoon, then its fair game…..with exceptions. Things get more complicated when trying not to use a name someone else uses in a Flickr group. I’m sure some of the names I use are already used by other people. If you pick a name you really like and then find out that someone like say….Quickblade is using that same name, then here’s my suggestion. Don’t sweat it. Unless the person has paid to have copy writes on a specific name and you plan to make money off of it, then it’s not a big deal. But what about common courtesy when using a name someone else uses? Well personally I try not to, but sometimes it happens. I have over 20 characters I have yet to reveal, and if someone debuts a character with the same name then I have 2 options. Change the name, or just go with it. In the past, I had a character that I changed the name of because it was too close to a friend’s main character. I decided to change the name even though he didn’t ask me to. I don’t know who came up with the name first, but it didn’t matter. You can always ask someone if you can use the name or give credit for the inspiration. It’s nearly impossible to come up with something unique and cool sounding at the same time. Just have fun with it.
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one of the highlights of this year's foxfield gala was this triple-headed demonstration coal train from foxfield to dilhorne park seen here starting to climb the 1 in 19 foxfield bank
locomotives are vulcan, beyerpeacock 1827 and dubs crane tank 4101
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1WozNbO
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A Very Berrilicious Smoothie, bursting with berry and omega 3 superpowers💫✨🌟 Sorry😅, but I just cannot resist stuffing strawberries into everything and anything in last couple of days and I have a feeling that it’s going to be a trend😜🙈 This is one of my snack/light dinner smoothies (since a green one every morning is a part of my spring detox routine I kind of miss my pink food😆💞) It was very delicious and fragrant, just bursting with flavors and sweetness of berries🍓🍉🍒 The recipe: Blend until smooth: ½ banana ½ cup raspberries or blackberries ½ cup strawberries 1 tsp @proteinworld acai powder 2 tsp @proteinworld ground flax seeds 1 cup plant milk (I used oat, but you can use any plant: almond, rice, walnut…) a small bunch of parsley (optional) a few fresh basil or mint leaves I swirled in some coconut yoghurt and chia jam for extra yumminess. You can find chia jam recipe on my blog (www.dhmaya.com) under Vanilla Buckwheat Parfait. I’d like to send some extra love today to my dear friend Mari @blueberrysmoothies wish her a belated Happy Birthday🎂🎈🎀 (🙈) and send huge congrats on reaching and crossing a 150k🎉🎈 Sending you hugs and kisses my darling!! I’m on my way home after spending more then 12 hours aboard ✈️…(it was that Paris twice in a day scheme again😆) really tired and dreaming of the moment I’ll get into shower, then put on yoga pants and a sweater, snuggle on the couch with a blanket and a cup of tea🍵 (and my man❤️) and of course, what comes next??? The movie night🙌😜 Night night guys🌃 Love💜 Maya xx vegansofig #vegansofinsta #instafood #morningslikethese #foodsforthought #radplantlife #foods4thought #thekitchn #eeeeeats #wholefoods #huffposttaste #picoftheday #instagram #TCMlivingwell
by @delicious_and_healthy_by_maya on Instagram.
© all rights reserved
Please take your time... and enjoy it large on black
The Laotian Civil War 1953–1979 was an internal fight between the Communist Pathet Lao and the Royal Lao Government in which both the political rightists and leftists received heavy external support for a proxy war from the global Cold War superpowers. The Kingdom of Laos was a covert theater of battle for the other belligerents during the Vietnam War. The Franco-Lao Treaty of 1953 gave Laos full independence but the following years were marked by a rivalry between the neutralists under Prince Souvanna Phouma, the right wing under Prince Boun Oum of Champasak, and the left-wing Lao Patriotic Front under Prince Souphanouvong and future Prime Minister Kaysone Phomvihane. A number of attempts were made to establish coalition governments, and a "tri-coalition" government was finally seated in Vientiane. Laos was never actively a party in the Civil War of Vietnam. But because of a very important part that was helpful to North Vietnam for getting upper hand in the War, Laos was dragged into it. United States President John Kennedy said in 1961 The security of all South East Asia will be in danger if Laos loses its Neutral independence. I want to make it clear to the American People and to all the world that all we want in Laos is peace, not war.. In the year 1962 Geneva Conference established Laos as a neutral country regarding the Civil War of Vietnam. But North Vietnam continued to use the Laotian trail for winning in the war. They continued to use the Ho Chi Minh Trail for sending military troops and other supplies and ammunitions. As a result, US took part in the war for stopping the North Vietnam but the entire involvement of US was a secret that gave the name Secret War to this unfortunate event and phase in Laos. A significant number of Hmong people fought against the communist-nationalist Pathet Lao during the Secret War financially they were supported by the CIA.The US involvement was kept secret as this country signed in the Geneva Conference regarding the neutrality of Laos. No official documents can be found regarding the US and Vietnam War that used Laos and ravaged the country. The Secret War in Laos continued from 1962 to1975. Well the truth behind the Secret War in Vietnam including bombing raids conducted every 8 Minutes day and night for nine solid years over the country of Laos. It makes Laos the Most Heavily Bombed Country in the World.
This portrait was taken at our Anouxsa Guest-house, Champasak - Laos. An old man stared at a peaceful view on the Mekong river. His face, his gaze - full of sadness. I didn't know why he was looking so sad till the friendly owner told me this is his father, a retired general of the Lao army. A man of 90 years old. A General during a long history of war with innumerable victims. Looking at his painful face it seems this retired General have some untold stories which will probably be kept untold.... His memories of war and suffering must be a heavy burden to carry.
De Laotiaanse Burgeroorlog 1953-1979 was een intern gevecht tussen de communistische Pathet Lao en de koninklijke Laoregering waarbij beide partijen enorme steun verkregen voor een oorlog bij volmacht van de wereldwijde supermachten Amerika en Rusland tijdens de Koude Oorlog. Het Koninkrijk Laos vormde het toneel voor een schemeroorlog voor de andere strijdende partijen tijdens de Vietnamoorlog. Het Frans-Laotiaans Verdrag van 1953 verleende Laos volledige onafhankelijkheid maar de jaren daaropvolgend werden gekenmerkt door rivaliteit tussen de neutralisten onder prins Souvanna Phouma, de rechtervleugel onder prins Boun Oum uit Champasak en het linkse Laotiaans Front onder prins Souphanouvong en toekomstig premier. Een aantal pogingen werden verricht om coalitieregeringen te vormen, wat uiteindelijk leidde tot een "drie-coalitie"-regering in Vientiane. De strijdende partijen in Laos omvatten het Noord-Vietnamese Leger, Amerikaanse, Thaise en Zuid-Vietnamese troepen, die op directe wijze en via ongestructureerde volmachten verwikkeld waren in een strijd om de macht over de zuidelijke uitloper van Laos. Het Noord-Vietnamese Leger bezette het oosten om het te kunnen gebruiken voor de Ho Chi Minh-bevoorradingscorridor en als uitvalsbasis voor offensieven in Zuid-Vietnam. In 1975 kwamen de Noord-Vietnamezen en Pathet Lao als overwinnaars uit de strijd in het jaar dat de communisten de overwinning proclameerden over heel Indochina. Met de geheime oorlog wordt een tijdsperiode tussen 1962 en 1975 aangeduid waarin de CIA in het geheim Laos met bommen bestookte. Gedurende die negen jaar werd het Aziatische land gemiddeld om de acht minuten gebombardeerd door Amerikaanse vliegtuigen, zonder dat daarvoor toestemming was verleend door het Amerikaans Congres. De geheime oorlog kwam voort uit angst van de Amerikanen dat het communisme in Indochina zou oprukken. De geheime oorlog kwam ten einde op 21 februari 1973 toen er in Vientiane een akkoord werd getekend. Daarin verklaarden de Verenigde Staten hun aanvallen te staken, op voorwaarde dat er een nieuwe regering zou komen die gemengd rechts en links zou zijn. Daarvoor moest de zittende, pro-communistische regering van Pathet Lao wijken. Deze was het officiële doelwit van de Amerikaanse bombardementen, alleen wist de CIA niet exact waar deze te vinden. De geheime oorlog maakte van Laos het meest gebombardeerde land ter wereld.
Dit portret heb ik genomen tijdens ons verblijf in Guesthouse Anouxsa , Champasak - Laos. Een oude man staarde naar de machtige Mekong rivier. Zijn gezicht, z'n blik is droefheid. Ik wist niet waarom hij zo droef keek totdat de vriendelijke eigenaar vertelde dat deze man z'n vader was, een gepensioneerde Generaal uit het leger van Laos. Een man van 90 jaar oud. Een lange tijd oorlog met ontelbare slachtoffers is moeilijk te verteren. Een man met waarschijnlijk veel ongeschreven verhalen die waarschijnlijk nooit geschreven en verteld zullen worden...
Double headed GMA's are seen hauling a coal drag from Carolina approaching Sewefontein on the return to Waterval Boven in November 1980.
superpower in Sheffield with 58012+58005 on the Worksop open day shuttles on 5 Sept 1993 56100+56089 were on the other end
Publication History
Black Widow is a superhero appearing in American comic books published by Marvel Comics. Created by editor Stan Lee, scripter Don Rico, and artist Don Heck, the character debuted as an enemy of Iron Man in Tales of Suspense #52 (1964). She reformed as a hero in The Avengers #30 (1966) and her most well-known design was introduced in The Amazing Spider-Man #86 (1970). Black Widow has been the main character in several comic issues since 1970, and she received her own Black Widow series in 1999. She has also frequently appeared as a supporting character in The Avengers and Daredevil.
Natalia Alianovna "Natasha Romanoff" Romanova (Russian: Наталья Альяновна "Наташа" Романова) is introduced as a spy for the Soviet Union until she defects to the United States. She subsequently joins the intelligence agency S.H.I.E.L.D., partners with Daredevil, and encounters a rival Black Widow in Yelena Belova. Though she has no distinct superpowers, she was augmented in the Red Room, a Soviet training facility, to increase her strength and reduce her aging. She has training in combat and espionage, and wields bracelets that fire electric shocks and project wires she uses to traverse skyscrapers.
Black Widow stories often explore her struggle to define her own identity as a spy and the trauma she endured from her life of training in the Red Room. Early stories emphasized her Soviet origin, portraying her superiors as evil and contrasting her with more noble American superheroes. Black Widow's status as a leading female character and femme fatale has influenced her portrayal.
Black Widow has been adapted into a variety of other media, including film, animated series, and video games. A version of the character was portrayed by Scarlett Johansson in the Marvel Cinematic Universe (MCU) franchise from her first appearance in Iron Man 2 (2010) to her final one in Black Widow (2021). Johansson's portrayal brought increased attention to the character and influenced Black Widow's depiction in comics.
1960s
A comic book cover depicting Iron Man fighting the Crimson Dynamo. Black Widow stands behind the Crimson Dynamo wearing a fur coat. A caption beside her reads "Introducing: the gorgeous new menace of... the Black Widow!"
Black Widow first appeared in Tales of Suspense #52 (1964) as an opponent of Iron Man. She was designed by artist Don Heck for a story plotted by Stan Lee and written by Don Rico under the pseudonym N. Korok. The character was portrayed as a seductress who was spying on Tony Stark for the Soviet government, making her one of several Soviet villains who faced Iron Man in the 1960s. She was infatuated with Tony Stark's looks and wealth and easily distracted by jewelry. Comics historian Brian Cronin has suggested that her name was a reference to Natasha Fatale from The Adventures of Rocky and Bullwinkle and Friends.
Black Widow first took the role of a supervillain in Tales of Suspense #64 (1965) after the Soviet government gave her a costume and equipment when they forced her to continue working for them. Her first costume took the form of a blue bodysuit made primarily of fishnet-style webbing, a cape, and a mask designed to resemble the one used by Hawkeye. With the costume came her first use of tactical equipment, including gloves that let her adhere to walls and the weaponized bracelets that later became her primary weapon. She was the villain in five Iron Man stories, all within a span of twelve issues.
Black Widow next appeared as the villain in Avengers #29–30 (1966), where she manipulated Hawkeye, Power Man, and Swordsman into doing her bidding. At the end of the story, she reformed and allied with the Avengers, as her love for Hawkeye motivated her to switch sides after recovering from brainwashing by the Soviet government. This made her one of several Marvel Comics villains who become good by defecting from the Soviet Union to the United States, symbolizing a moral preference for American individualism over Soviet communism.
Black Widow's design underwent various changes as she appeared in the following issues of Avengers. The character's backstory was expanded in Avengers #43 (1967), when she discovered that the secret identity of the Red Guardian was her husband Alexei, who had been presumed dead. This story explained that it was because of his supposed death that she trained to be a spy. After her redemption, Black Widow became associated with the fictional intelligence agency S.H.I.E.L.D.
1970s
Black Widow went one year without being in any new comic books until she appeared in Avengers #76 (1970) to end her relationship with Hawkeye (then named Goliath), effectively making her an independent character. She then underwent a full redesign in The Amazing Spider-Man #86 (1970), where she was given the black costume and long red hair that became identified with her character.
John Romita Sr. designed the costume, basing it on the 1940s Miss Fury comic strip. Marvel followed this the same year with a series of Black Widow stories published in Amazing Adventures, which also published stories about the Inhumans. Marvel's first series to feature stories led by a female superhero, it portrayed Black Widow as a wealthy jet setter who doubled as a crime-fighter.
The first issues, written by Gary Friedrich and illustrated by Gene Colan, were about political issues. Writers Roy Thomas and then Gerry Conway moved it away from politics in favor of melodrama, developing the relationship between Black Widow and her father figure Ivan Petrovich. Amazing Adventures ran for eight issues before Black Widow was removed from the comic book so the Inhumans could have a standalone series.
As the writer for Daredevil, Conway introduced Black Widow as a supporting character and established a romance between her and Daredevil as "a way to re-energize the title". She joined the series in Daredevil #81 (1971). Colan illustrated the series with drawings of Black Widow that emphasized her acrobatics and long red hair. Conway credited Colan with creating the "first empowered sexy babe" in comics. This run allowed for deeper characterization for Black Widow, and she was given a last name, Romanoff, in issue #82 (1971).
Her story line in the series saw her framed for killing a supervillain, with Daredevil's friend Foggy Nelson leading the prosecution. Conway then moved the setting to San Francisco, and their relationship became the main focus of the series. The pairing was one Marvel had to handle carefully given potential backlash to an unmarried couple living together, having them live on separate floors and having Ivan live with them. Responding to criticism that his treatment of Black Widow was sexist, Conway reworked her role beginning in Daredevil #91 (1972), having her stand up for herself when she felt neglected by Daredevil. The series was retitled Daredevil and the Black Widow in the following issue.
Steve Gerber became the writer for Daredevil with issue #97 (1972), and he moved the focus away from Black Widow back to Daredevil's superhero activity in response to weak sales. Her name was dropped from the title after issue #107 (1973). She appeared in Avengers #111–112 (1973), but left the team almost immediately as she wished to return to Daredevil.
Tony Isabella became the writer for Daredevil with issue #118, and feeling that the relationship dynamic between Daredevil and Black Widow harmed both characters, he set out to split them apart. She departed from the series in issue #124 (1975), with the character leaving by saying that she felt overshadowed by Daredevil and that he robbed her of her independence.
When Isabella began writing The Champions, he included Black Widow as a member. Originally intended to be a duo of Iceman and Angel, editor Len Wein mandated several changes to The Champions, including the requirement of a female character. Besides his experience writing for Black Widow, Isabella used her in hope that continuing to work with her would prevent another writer from reuniting her with Daredevil.
The seventh issue of The Champions, "The Man Who Created the Black Widow", focused on Black Widow's backstory and introduced the villain Yuri Bezukhov, the son of Ivan Petrovich. Isabella wanted to continue this story by revealing Ivan to be Black Widow's biological father, but he left Marvel Comics after completing the issue. The Champions ended after 16 issues, and Black Widow was returned to Avengers in issue #173 (1978) during the "Korvac Saga". She returned to Daredevil as a supporting character in issues #155–165 (1978–1980).[26]
1980s
Black Widow was less prominent in the 1980s. She made an appearance in the anthology book Bizarre Adventures #25 (1981), as one of the superheroines leading a story written by Ralph Macchio and illustrated by Paul Gulacy under the issue's "Lethal Ladies" theme. The story followed Black Widow as she infiltrated a Soviet arms depot in South Africa led by her former instructor. Macchio moved away from elements he felt were reminiscent of James Bond, instead looking to the works of John le Carré for inspiration so readers "really didn't know who were the good guys and the bad guys".
Black Widow made another return to Daredevil beginning in issue #187 (1982), written by Frank Miller. She was redesigned during Miller's run, giving her a more casual and stronger appearance with a gray leotard and shorter hair. She also appeared in the shared books Marvel Two-in-One and Marvel Team-Up.
The anthology book Marvel Fanfare, issues #10–13 (1983–1984) featured Black Widow in her next solo story. Written by Macchio and illustrated by George Pérez with other artists, this story had her pursue Ivan on behalf of S.H.I.E.L.D. before discovering that he had been brainwashed. Macchio and Pérez had begun working on the story in 1978, but its intended publication was cancelled twice, in Marvel Premiere and then Marvel Spotlight. Macchio made it explicit in this run that Black Widow killed adversaries when necessary.
1990s
Black Widow appeared in three entries of the Marvel Graphic Novel line in the 1990s. Black Widow: The Coldest War (1990) is the 61st entry in the series, featuring Black Widow as she is tricked into believing that her husband is alive and is forced to work for the Soviet Union to save him. Punisher/Black Widow: Spinning Doomsday's Web (1992) is the 74th entry in the series and features Black Widow working with the Punisher to defeat Malum.
Daredevil/Black Widow: Abattoir (1993) is the 75th and final entry in the series, featuring Black Widow and Daredevil as they investigate the murders of telepaths. She then starred in separate graphic novel, Fury/Black Widow: Death Duty (1995). Although she shares the title with Nick Fury, he only briefly appears in the book, and she instead teams with Night Raven in his first appearance in Marvel's mainline continuity.
Black Widow returned to her black jumpsuit in the 1990s and began working alongside Iron Man during the run of writer John Byrne and artist Paul Ryan, beginning in Iron Man #269 (1991). She again became a member of the Avengers with its new roster in Avengers #343 (1992). This led to her becoming the leader of the Avengers for a period of time. Her association with the Avengers increased her prominence among Marvel superheroes, allowing for appearances in Captain America and Force Works.
Black Widow returned to Daredevil in issue #362 (1997), which had her become more vengeful as she responded to the Onslaught event that caused the apparent deaths of her allies in the Avengers. She reappeared in the new volume of the Avengers, but only infrequently as a guest character. Black Widow then starred in a three-issue arc, "The Fire Next Time", by writer Scott Lobdell and penciller Randy Green, in Journey into Mystery #517–519 (1998). At the same time, writer Kevin Smith had her return to Daredevil during the first storyline of its second volume. Black Widow's Marvel Fanfare story was reprinted as a single volume in 1999, titled Black Widow: Web of Intrigue.
A new character, Yelena Belova, took the moniker Black Widow beginning in Inhumans #5 (1999). The two Black Widows came into conflict in the limited series Black Widow published the same year, which was written by Devin Grayson and illustrated by J. G. Jones, running for three issues. The series was part of the Marvel Knights imprint and encompassed a single story, "The Itsy-Bitsy Spider". This was the first time a comic book series featured Black Widow as its sole main character; the only other title to do this was her standalone 1990 graphic novel.
2000s
Grayson wrote a second three-issue Black Widow miniseries featuring the Natasha and Yelena Black Widows in 2001, alongside co-writer Greg Rucka and artist Scott Hampton. Black Widow returned to Daredevil in its "The Widow" storyline (2004) by writer Brian Michael Bendis and artist Alex Maleev. Richard K. Morgan wrote Black Widow: Homecoming in 2004 with Bill Sienkiewicz and Goran Parlov, simplifying Black Widow's backstory into a consistent series of events.
The series featured a more violent Black Widow and ran for six issues. Morgan then wrote another six-issue series, Black Widow: The Things They Say About Her, in 2006 with Sienkiewicz and Sean Phillips. This continued from the previous series and followed Black Widow as she went on the run from S.H.I.E.L.D. An alternate version of Black Widow was created for the Ultimate Universe in the 2000s, where she is a member of the Ultimates.
Black Widow: Deadly Origin ran in 2009–2010, written by Paul Cornell and illustrated by Tom Raney and John Paul Leon. The series followed Black Widow's history through flashbacks from different points in her life. The reimaginings of her earlier adventures had her wearing more modest costumes relative to her original appearances.
2010s
Black Widow became more widely known to the public after the character was adapted to film in Iron Man 2 (2010). The film's emphasis on her as a spy instead of a superhero influenced how she was portrayed in comics over the following years. With the character's popularity came additional publications, such as Black Widow and the Marvel Girls (2010), which was created by Salvador Espin, Veronica Gandini, Takeshi Miyazawa, and Paul Tobin.
Black Widow received a new volume, beginning with the "Name of the Rose" (2010) story arc. It was written by Marjorie Liu and illustrated by Daniel Acuña, the latter creating art influenced by film noir. The series was then transferred to writer Duane Swierczynski and artist Manuel Garcia for the "Kiss and Kill" story arc. Jim McCann wrote the Widowmaker limited series in 2010 with artist David López. The series was a crossover between Black Widow and the ongoing Hawkeye & Mockingbird series. Black Widow also appeared as a main character in Secret Avengers.
A new Black Widow series was published under the Marvel Now! branding in 2014, created by Nathan Edmondson and Phil Noto. This series returned to Grayson's characterization of Black Widow as more introspective than action-oriented. It was the longest running Black Widow series with 20 issues, ending in 2015 with the Secret Wars event. Black Widow: Forever Red, a young adult novel featuring the Marvel Cinematic Universe version of Black Widow, was written by Margaret Stohl and released in 2015.
The next volume of Black Widow was introduced in 2016, written by Mark Waid and illustrated by Chris Samnee. These stories followed the lead of the cinematic version, exploring her work with S.H.I.E.L.D. and her experiences in the Red Room. Waid's series ran for twelve issues. Horror writers Jen and Sylvia Soska wrote a Black Widow miniseries in 2019 with artist Flaviano, and Jody Houser wrote the five issue series Web of Black Widow the same year, with Stephen Mooney as its artist.
2020s
Ralph Macchio joined artist Simon Buonfantino in a return to Black Widow with Black Widow: Widow's Sting in 2020. The one-shot comic was written as a more traditional spy drama, using many of the genre's common tropes. Kelly Thompson began writing a Black Widow series the same year, with Elena Casagrande as the volume's artist. The series was split into three-story arcs: "The Ties that Bind" introduced a brainwashed Black Widow who believed she lived a domestic life as a mother,
"I Am the Black Widow" continued the story with her memory returned and a new team of sidekicks and partners fighting alongside her, and "Die by the Blade" concluded the 15-issue series with Black Widow and her team fighting a human-trafficking ring.
Black Widow's character underwent a major redesign in Venom #26 (2023) when she became the host of a symbiote. She was given a new costume designed by CAFU, based on the appearance of Venom. The symbiote version of Black Widow made appearances in Thunderbolts by Collin Kelly, Jackson Lanzing, and Geraldo Borges, and then in Black Widow & Hawkeye by writer Stephanie Phillips and artist Paolo Villaneli. As a symbiote host, Black Widow became a major character in the "Venom War" storyline. Her role in the story was introduced in the one shot Black Widow: Venomous, written by Erica Schultz and illustrated by Luciano Vecchio. She also appeared in a three-issue limited series, Venom War: Venomous, in late 2024, also created by Schultz and Vecchio.
Character Evolution
It is rumored that Black Widow is somehow related to the last ruling czars of Russia, but this has yet to be proven. Not much is known about Black Widow's history prior to World War II other than she was born as Natalia Romanova in Stalingrad, Russia to unknown parents. Nazis set fire to the building that Natasha and her parents were living in and her mother threw Natasha out of the window into the arms of a Russian soldier named Ivan Petrovitch, who was serving in the army at the time. Ivan took care of Natasha while she was growing up and later became her chauffeur.
After a youth spent traveling through war-torn Europe with Ivan and his company of troops, Natasha was recruited by the Red Room. Her masters there arranged a marriage with the hero pilot Alexei Shostakov, and soon with the help of Red Room brainwashing, Natasha became convinced she was an ordinary Russian housewife. When Alexei was (seemingly) killed, Natasha found she had a deep-rooted desire to serve her country and demanded the government let her serve in his place. She became the KGB's top agent.
Major Story Arcs
Young Natasha
For a while, Black Widow was trained and helped by Wolverine, who temporarily left his violent ways for her and cared very much about her well-being. Ivan also protected Natasha, until in 1941, when she was kidnapped by the Nazi Baron Strucker and was made an assassin for the Hand. However, she was taken back (against her will) by Ivan, Captain America, and Wolverine.
When Wolverine came back to America, Black Widow saved him from Hydra assassins and encountered him again when Ben Grimm and Carol Danvers stole the Red Storm project from Russia. She pursued them but was ordered to abort the mission. During this time, Widow fell in love with a somewhat brainwashed Bucky Barnes.
Agent of the USSR
One of her assignments was to infiltrate Stark Industries with her partner Boris Turgenov in the assassination of Anton Vanko. The Black Widow, however, had her plans foiled by Iron Man. Natasha was attracted to Tony Stark and decided to try and distract him so that her partner could destroy Stark’s plants. Soon after her partner Boris Turgenov and enemy, Anton Vanko died, Natasha decided to stay in America and act as an undercover spy in order to regain the favor of the K.G.B.
She faked sympathy in Tony Stark in order to steal his anti-gravity device. Natasha would be successful in stealing the device and used it to cause destruction. Eventually, Iron Man would be able to destroy his anti-gravity device but was unable to apprehend Natasha.
Hawkeye
Natasha would soon run into Hawkeye, who was a wanted man by mistake. She would sometimes use Hawkeye as he was attracted to her, and he would help her in some of her missions. Natasha was able to trick Hawkeye into stealing plans from Tony Stark. Hawkeye agreed to her plan and would eventually run into Iron Man. The two fought each other while Natasha watched from far away. However, one of Hawkeye’s arrows was reflected by Iron Man and it flew off and hit Natasha, knocking her unconscious.
After she woke up, the K.G.B. gave her orders to stop attacking Stark Industries and gave her a new target, the Williams Innovations. Natasha would again convince Hawkeye somehow into attacking the company. However, Hawkeye would encounter Spider-Man, who convinced him that he was doing the wrong thing. However, Natasha would somehow convince Hawkeye again into stealing the Stark plans again. While Hawkeye was on the mission, the K.G.B. came and kidnapped Natasha, bringing her back to Russia.
They designed a new costume for Natasha and new equipment. Natasha then returned to join Hawkeye in a battle against Iron Man. However, Iron Man would defeat them when he shocks Natasha with an electrical blast.
However, her attraction towards Hawkeye questioned her loyalty to Russia. Hawkeye refused to work with Black Widow and joined the Avengers. The K.G.B. once again kidnapped Natasha and brainwashed her into serving them again. They ordered her to attack the Avengers, but she freed herself from their brainwashing and reunited with Hawkeye. She became an ally of the Avengers, aiding them in many missions. However, she was not a full-time member as she did not respect the Avenger’s oath of non-killing.
Natasha later decided to join SHIELD to be their double agent and operative against the K.G.B. During a mission for S.H.I.E.L.D., Natasha discovered that Alexei Shostakov was in fact still alive and had become the Red Guardian. She and the Avengers fought Red Guardian and he died in battle. Distraught, she declined the Avengers' offer to make her an official member and abandoned her Black Widow alias for a while.
Relationship with Daredevil
Black Widow's relationship with Hawkeye ended when Natasha resumed her identity as the Black Widow. She told him that she wanted to pursue a solo career and had to break it off with him. She became an all-new Black Widow, changing her costume into an all-black color. She became a vigilante and fought against common criminals in New York. Eventually, Natasha would be reunited with Ivan when he comes to America, Ivan served as Natasha’s chauffeur and would occasionally give her advice. While working in New York, Natasha would encounter Daredevil. The two quickly teamed up and eventually developed a romantic relationship.
Natasha’s relationship with Foggy Nelson, Matt's partner, was never good, as he was brainwashed into prosecuting Natasha for the murder of the Scorpion. Natasha never forgave Foggy for that incident, even though she was proven innocent. Eventually, Matt and Natasha’s relationship would go so far to the point where Matt broke up with Karen Page. The new couple decided to move to San Francisco to start a new life there. They continued their duo-vigilante careers in the streets of San Francisco.
Natasha would pursue a career outside of crime-fighting and would try to become a fashion designer. However, she failed in this endeavor. This did not help her relationship with Matt, which had become a bit shaky. Natasha and Daredevil would later aid the Avengers in a battle against Magneto, and the two were offered memberships to the Avengers which they accepted.
However, Natasha soon realized that she was not a comfortable fit for a team while fighting the Lion God. Natasha quit the Avengers and reconciled with Matt. They continued their relationship for quite some time, but eventually, Natasha would break up with Matt because she felt he did not treat her equally on the battlefield. She would remain friends with Matt and continue to help him on occasion.
The Champions
She remained on the West Coast and briefly joined and led the Champions of Los Angeles, all the while having a romantic relationship with Hercules. The group was funded by Angel and achieved moderate success, but was eventually broken off due to bankruptcy. Shortly after the Champions had disbanded, Natasha and Hercules answered a summons from their former team the Avengers, and aided them in battling the nigh-omnipotent man-god Michael Korvac. Hercules and the Black Widow split up a short time later and Natasha went solo for a while.
Natasha was still widely known by the criminal underworld as one of Daredevil’s lovers. With this knowledge, Bullseye kidnapped Natasha, wanting to use her as bait to lure Daredevil into a trap. Natasha was able to free herself and aided Daredevil in defeating Bullseye. Later, an enemy of Natasha’s named Damon Dran captured Ivan in order to lure Black Widow into his trap. He had an army of female combatants. Damon Dran wanted to send a fake Black Widow to assassinate Nick Fury. Natasha defeated Dran's agents and told Fury about the attempted assassination saving Ivan before Dran's island was bombed by S.H.I.E.L.D.
Later, when The Hand wanted to steal and revive the body of Kirigi - a dead master warrior - Black Widow tried to thwart their plans but they poisoned her and she died, only to be restored to life again by Stone of the Chaste. After witnessing a strange interaction between Matt and his fiancee Heather Glenn, out of concern for Matt's mental health, Natasha visited Foggy Nelson.
He told Natasha that Matt was very depressed following the death of Elektra, but also alleged that Matt had ruined his fiancee Heather Glenn's career to force her to agree to marry him. The two decided to write forged notes to both Matt and Heather to make them break up (the truth of Heather and Matt's dispute was that Matt stopped Heather's business life after her company was corrupted by Kingpin's cohorts).
Natasha then teamed up with Daredevil to stop the Hand who were attempting to revive Elektra to serve as their new champion. During the battle, a desperate Daredevil himself attempts to revive Elektra's corpse but thinks his attempt has failed, and he leaves with Black Widow. Natasha however, knew that Elektra had been successfully revived, but she kept this information from Daredevil for his own good.
Heather Glenn was so upset by the breakup that she committed suicide. This made Natasha partly responsible for her death. Russian agents duped Natasha into doing their dirty work by building a model of Alexei Shostakov called a Life Model Decoy (LMD). They threatened to kill "Alexei" if she did not participate in their plans. When Natasha got what they needed, they revealed the truth and tried to kill her but she defeated them with Ivan’s help.
Natasha's brain was then reprogrammed into an agent called "Oktober" launching missiles to ignite World War III. Natasha was successful in launching the missiles. Iron Man, however, stopped the missiles from detonating and helped her capture the K.G.B. agent responsible for the reprogramming.
Joining the Avengers
Natasha returned to the Avengers and even though Black Knight was the leader on the field, she was leader in managing the team's plans. During this time, she was attracted to Captain America, but she ended up with Iron Man. Under her leadership of the team, they were all apparently killed in battle by Onslaught. She attempted to recruit new heroes, but failed and threatened legal action against her from Mary Stark Foundation and let go.
After Onslaught
Natasha believed herself to be the last Avenger and so operated alone, hunting down the Avengers' enemies Grey Gargoyle and the Masters Of Evil. She came across Daredevil again who was concerned with her mental state, but this only complicated his life because he was rebuilding his relationship with Karen Page.
Natasha wanted to reconcile their relationship, but she understood that Karen and Matt were trying to rebuild theirs, so left them their space. She even offered to help Karen when Mr. Fear framed her for murder. Later when the hero team the Thunderbolts were revealed to be the Masters of Evil in disguise, Natasha convinced them that other criminals had turned a new leaf and they managed to become real heroes.
Heroes Return
The Avengers returned from the alternate Universe they had been shunted off to and Natasha would sometimes help on their missions, though she felt she was responsible for their break up. Natasha worked for S.H.I.E.L.D. and shut down Freedom's Light, a terrorist group, and asked Iron Man's help in her infiltration of a forced-labor camp run by The Mandarin. Natasha then battled a man called Vindiktor, who claimed that he had diaries from her deceased mother and revealed that he was her brother. He died before he could confirm this, however.
When Daredevil believed that baby Karen was the Anti-Christ, Natasha protected the baby but was severely injured. In the end, Karen Page died protecting the child. Natasha revealed that she still loved Matt, though they were too far apart to become a couple again.
A Second Black Widow
Natasha came into competition with another Black Widow named Yelena Belova. Yelena was also trained in the “Red Room” and became obsessed with being the only Black Widow. They encountered each other on a mission where while attempting to retrieve the Endless Fury bioweapon. The two would eventually fight, afterward, Natasha and Yelena traded appearances in order for Yelena to realize that her superiors did not care if she died or lived. Despite the other Black Widow, Natasha remains as one of the greatest S.H.I.E.L.D. agents alive.
Civil War
After the incident involving the New Warriors in Stamford, Natasha was a supporter of the Superhuman Registration Act and worked with Iron Man’s group to capture rogue Super Heroes. After the death of Captain America, Natasha was assigned to transport Captain America’s shield. However, in doing so, she was attacked by Bucky Barnes. Bucky knocked Natasha unconscious and stole the shield.
It was revealed that Natasha and Bucky had a romantic relationship back when she was still training to become an operative. Shortly after this, Natasha was given a dull SHIELD job training agents by some angry officials. She was so angry she became a violent and resentful teacher. Natasha was overjoyed when Tony Stark took her out of this job so she could join the Avengers. While working for them she battled Ultron, alien symbiotes, and Doctor Doom.
She and the Falcon rescued Bucky from the Red Skull and brought him to S.H.I.E.L.D. There Bucky becomes the new Captain America, and she later helps him stop the Red Skull's plan to control America, in the process saving S.H.I.E.L.D. Agent Sharon Carter. Natasha then started to date James again. She was later ordered by S.H.I.E.L.D. to help capture Hercules, but let him go because of her respect for the Greek god.
Secret Invasion
Natasha joined the Mighty Avengers as they traveled to the Savage Land to take a look at a crashed Skrull ship and together with the New Avengers, fought off a group of Skrulls that looked like different superheroes dressed in their old costumes. She and the Avengers later joined the final Skrull battle in Central Park. After this, she continued to date Captain America (James Barnes) and continued to be his partner, but no longer with the Mighty Avengers or with S.H.I.E.L.D. after it was shut down by Norman Osborn.
Dark Reign
Natasha was revealed to have been posing as Yelena Belova on Norman Osborn's Thunderbolts team, secretly working for Nick Fury. She helps Songbird escape the Thunderbolts and reunite with former teammates Fixer and Abner Jenkins. Wolverine entrusted Black Widow with what remained of the Muramasa Blade. She participated in his plan to be prepared for attacks by Weapon X members and left the sword exactly where Wolverine wanted it (Wolverine then used the sword to kill Omega Red).
Solo Again
After helping Maria Hill and Pepper Potts save Tony Stark's life, the Black Widow embarks on a new solo career. She immediately finds herself under attack from a hidden foe who uses robot minions to carry out an operation to steal a secret data storage chip she has implanted under her skin. Isolated from her friends and allies, Natasha has to rely on her wits and physical toughness to figure out the aims and identity of her foe and bring his cruel vendetta to an end. It turns out that Imus Champion had discovered the existence of the chip and wanted to blackmail Black Widow with it and provoke her into attacking and killing him so he can transplant his mind into a new body.
Black Widow tracks down Imus and transmits a virus with the secret intel data so that all computers that have received it will be destroyed. In the final fight with Imus, Natasha smashes the brain of Ivan that Imus had kept with him, but refuses to kill him and instead deletes his mind transfer data.
Widowmaker
Shortly after this, in the Widowmaker story arc, Natasha is framed in a plot targeting global spies. She is accused of assassinating US senator Whit Crane. The senator's son, Nick, is captured by a rival spy Fatale, who wants to know his source for implicating Natasha. Natasha steals Nick away from her and takes him to a secret CIA base to scare him into giving her his source instead.
The plan backfires when both of them are attacked. Natasha and Nick escape, but while in Poland they are attacked by Fantasma and Crimson Dynamo. Natasha takes down Crimson Dynamo, but then Fatale shows up and knocks out Fantasma. Fatale reveals that she was hired to kill Whit Crane but found he had already taken his own life and she needed to use Nick to track down who had actually paid for the hit. Nick gives them the name of a source 'Sadko' (not his true source of info), but when they arrive it's a trap wired with explosives and the two spies are forced to escape.
The conspiracy against spies turns out to be wider and Natasha encounters Mockingbird and Hawkeye on the same trail in Russia where they find many trainee spies and a SHIELD agent have been killed. Perun, Crimson Dynamo, Fantasma, and Sputnik show up to apprehend Hawkeye, believing him to be the Ronin behind the spy deaths. Discovering that this is merely a diversion, the three heroes and Dominic Fortune alert the true target - an ambassador in St Petersburg, Russia.
They next travel to Japan. Dominic and Mockingbird discover an amassing battle force on the Russian coast near the northern Japanese islands, while Natasha and Hawkeye track down 'the Madame' - an old Ninja working with the new Ronin to bring about this Russian attack. The four heroes meet up on the disputed island 'Iturup' where they meet the Ronin, who is revealed as Alexi Shostakov.
His plan was to kill off-world intelligence operatives leaving countries blind while he made his attack, and bring the four heroes to him so he could kill them. Shostakov sets off the volcano on the island, but Natasha and the others use the lava to defeat his forces. He is defeated when Natasha shows Fantasma his true plan and Fantasma then hypnotizes him into seeing Natasha's death, allowing the real Natasha to take him down.
The Longest Winter
Natasha and Bucky were looking for a sleeper agent of the Zephyr project, in a stasis container at a Vegas casino and when they got there they realized the agent had been awakened. They have a briefing in the morning with Jasper Sitwell who tells them about a former KGB agent named Nico Stanovich, who went into hiding and is perhaps the handler of the awoken sleeper agent. Bucky and Natasha head to Minnesota where they meet another former KGB agent of the same squad named Mikel Bulgakov.
They interrogate Bulgakov until he gives them the little info he knows about the sleepers' activation codes which he sold to some unknown buyers and the next sleeper. Bucky and Natasha go to the warehouse location and dispatch the agents in there. They get assaulted by a genetically modified gorilla with a chain gun and after a brief battle, the gorilla flies off. They head back for another briefing and find the activated sleeper, while Nick Fury gives them some intel on an infiltration mission at an auction.
Bucky starts a raid and him and Nat defeat the goons there and get more info on the buyer of the codes who also happened to buy a doom bot. They narrow down the possible people who want to use these agents and bot to start a war between the U.S. and Latveria to Lucia Von Bardas.
In order to get help and prevent a war, Bucky and Natasha infiltrate Dr. Doom's fortress who attacks them in confusion and dispatches Widow quickly. While Bucky and Dr. Doom deal with the Doombot and Arkady, Natasha is sent to investigate a simian research facility and she realizes the people there had left just a few hours ago.
Widow along with Dr. Doom and Winter Soldier, infiltrate Doom's missile silo where Lucia is at. While Bucky runs off to fight Dimitri, Natasha fights the gorilla soldiers and watches as Doom dismantles Von Bardas. She informs Bucky of some secret intel that Fury left behind about the code buyer.
Broken Arrow
Natasha is helping Bucky investigate and deal with the final sleeper agent. Novokov ends up managing to separate Widow from Bucky as she was his intended target.
Widow Hunt
Natasha is captured by Novokov and is reprogrammed back to her old ways. She is undercover as a ballet dancer and recaptured by Barnes and S.H.I.E.L.D. They manage to undo her first layer of programming but switches back to her old self again as she attacks an agent and kills him and takes his weapon. She kills more soldiers and aims at Fury, who puts up a fight. Natasha lines up the kill shot but the shot is blocked by Sitwell who ends up being killed by the storm of bullets. Natasha leaves and rejoins Novokov once more.
Leo and Widow are at a bomb site when Bucky invades. He manages to fight off both of them and defeat Novokov when S.H.I.E.L.D arrives. Leo attempts to use Natasha as a hostage but they are separated due to Hawkeye while Bucky shoots Leo. S.H.I.E.L.D manages to reconnect all of Widow's memories up until current day except for her memory of Bucky. Bucky is heartbroken by this outcome but finds solace that at least Natasha doesn't have to suffer anymore.
San Francisco
After her return, Natasha was kidnapped by an evil organization made up of some of Marvel's most villainous foes. For the next couple months she and a regular civilian named James were brainwashed and reprogrammed. The organization also used their DNA to create their clone son named Stevie. When Natasha woke, she believed herself to be a civilian, the wife of James, and the mother of Stevie. They lived like a normal family and no one had known that Natasha was gone until Clint noticed as a pedestrian on T.V. one day.
He teamed up with Bucky and the two went to investigate. On their watch, they concluded that Natasha's behavior was strange. Clint went in and introduced himself to more and when he reported back to Bucky, said that she seemed happy and wasn't sure what to do. Then, they learned that Yelena was undercover there in hopes to save Natasha.
The three partnered up and eventually saved Natasha, fighting the organization who had done this to her in the process. Natasha was distraught by all of this and, wanting the best for Stevie and James, had them live far away from her, without knowing her at all to protect them.
Natasha then partnered up with Yelena, Lucy Nguyen, Anya Corazon, and Kate Bishop to take down an evil group in San Fransisco before she learned that James and Stevie were in danger. She decided to go save them. Learning that, Bucky returned to San Fransisco and questioned her on why she looked for them. When she asked him about Stevie, Bucky reassured her that he was okay.
Then, Natasha was tipped off about a situation brewing, and she and her team - along with Bucky and Clint - decided to investigate. They went to a dance where Natasha and Bucky maintained their covers by dancing and the rest got into position. When Anya, Lucy, and Clint stopped responding to their comms, Natasha and Yelena investigated. Natasha saw that Clint was unconcious and realized that Bucky should've joined them by now. She was then faced with someone she used to know in Madripoor - someone she feared, named The Living Blade.
A flashback revealed that he had come after her and nearly killed her while she was on a mission in Madripoor. He injured her greatly and then left her alive, saying he'd be back. Facing him again in the present day, Natasha fought him off and told Yelena to run. Living Blade quickly outmatches Natasha before chopping her right arm off, being stopped by Hawkeye before he could kill her. Saving all those captured to be sold off by The Host, Nat and Clint find "The Starfish" a teen who can heal, who repays Widow by regenerating her arm back in place.
Natasha continues on and finds a tortured Apogee, who she frees as one-time pass. She finds the Living Blade defeating Yelena in battle, and in the ensuing rematch Natasha gets the upper hand. Surrounded by her friends and allies, Natasha spares Living Blade's life as he did her back in Madripoor. Realizing he is outmatched, her acquiesces.
Powers and Abilities
Natasha has taken a different version of the Super-Soldier Serum. This gave her physical abilities much like Captain America, though not as great as his. She possesses peak-level physiology, making her as strong, agile, fast, and durable as a female human can possibly be without being classified as superhuman. This also extends to her senses and immune system, which are similarly heightened to peak human level.
From a young age, Natasha was trained to become a martial artist the martial arts she knows are karate, judo, kenpo, jujutsu, ninjutsu, aikido, savate, Muay Thai, Sambo, and multiple styles of kung fu sharpshooter and acrobat, and has become a master of all of these skills. She has since become one of the top espionage operatives in the world. Natasha has also proven herself to be one of the best information gatherers in the Marvel Universe.
She is fluent in many different languages and is an expert computer programmer and hacker. She is an accomplished battle strategist and field commander, and has been the leader of the Avengers and even SHIELD on one occasion.
In the 2004 Black Widow mini-series, Natasha's background was retconned. She was subjected to biotechnological and psycho-technological enhancement. This answers the question as to why Natasha is still so youthful despite being born prior to World War II.
Paraphernalia
Despite its skin-tight appearance, the black catsuit that Natasha wears is made of a high-tech synthetic fabric that is resistant to high temperatures and even small-arms fire. It is further enhanced with tiny suction cups that allow her to cling to walls and even ceilings, much like her black widow spider namesake. She carries state-of-the-art versions of gear used by top modern spies, including stunners, tear-gas, a cable and a transmitter.
Natasha can quickly travel across rooftops and from building to building with a grappling hook and a retractable line called the Widow's Line. She also carries various types of weapons, ranging from melee to long distance. Her primary weapon is the 'Widow's Bite,' which is delivered via her wrist cartridges. They emit a potent electrical blast with a maximum power of around 30,000 volts.
⚡ Happy 🎯 Heroclix 💫 Friday! 👽
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A year of the shows and performers of the Bijou Planks Theater.
Secret Identity: Natasha Romanoff
Publisher: Marvel
First appearance: Tales of Suspense #52 (April 1964)
Created by: Stan Lee (editor/plotter)
Don Rico (writer)
Don Heck (artist)
URF! HeroClix did Natasha no favors with this terrible sculpt and paint. We're getting close to the end of the HeroClix figures and now we're coming back to some of the ones we skipped over.
Black Widow has been seen in:
Labor Day 2018!
www.flickr.com/photos/paprihaven/29522109657/
In action in the Paprihaven story such as issue 1482!
History:
Judy Novak was born a spoiled brat. Being the only daughter of wealthy parents, she got whatever she wanted, when she wanted. Her teen years were spent partying and living it up with no concern for the lesser fortunate of society. The only thing that would keep her in check was her severe bouts of vertigo. She seemed to have it all when her life got turned upside down literally. Her families fortune became forfeit when her father would go to prison for embezzlement. Judy became bitter at her new circumstance and quickly turned to crime as an outlet for her misfortune. She socialized with the more unlawful citizens of New Blok and found new avenues for getting what she wanted. One such outing led her into trying some experimental substances which had an intriguing effect on her vertigo. She was now able to project her condition onto others while becoming immune to the dizzying effects. In a short time her reputation grew and she adopted the nickname “Violet” due to the colors she preferred to wear. Becoming the leader of a small gang, Violet set out for bigger goals. After a few victories against the NBCPD, she grew in her confidence. A run in with New Blok City’s super powered heroes slowed her progress and she now has a vendetta against Ultra Force and the rest of the costumed crusaders of the city. Violet Vertigo has emerged as a dangerous force and sets to unbalance all those who oppose her.
Built for the League of Lego Heroes
Batman is a superhero appearing in American comic books published by DC Comics. The character was created by artist Bob Kane and writer Bill Finger, and debuted in the 27th issue of the comic book Detective Comics on March 30, 1939. In the DC Universe continuity, Batman is the alias of Bruce Wayne, a wealthy American playboy, philanthropist, and industrialist who resides in Gotham City. Batman's origin story features him swearing vengeance against criminals after witnessing the murder of his parents Thomas and Martha as a child, a vendetta tempered with the ideal of justice. He trains himself physically and intellectually, crafts a bat-inspired persona, and monitors the Gotham streets at night. Kane, Finger, and other creators accompanied Batman with supporting characters, including his sidekicks Robin and Batgirl; allies Alfred Pennyworth, James Gordon, and Catwoman; and foes such as the Penguin, the Riddler, Two-Face, and his archenemy, the Joker.
Kane conceived Batman in early 1939 to capitalize on the popularity of DC's Superman; although Kane frequently claimed sole creation credit, Finger substantially developed the concept from a generic superhero into something more bat-like. The character received his own spin-off publication, Batman, in 1940. Batman was originally introduced as a ruthless vigilante who frequently killed or maimed criminals, but evolved into a character with a stringent moral code and strong sense of justice. Unlike most superheroes, Batman does not possess any superpowers, instead relying on his intellect, fighting skills, and wealth. The 1960s Batman television series used a camp aesthetic, which continued to be associated with the character for years after the show ended. Various creators worked to return the character to his darker roots in the 1970s and 1980s, culminating with the 1986 miniseries The Dark Knight Returns by Frank Miller.
DC has featured Batman in many comic books, including comics published under its imprints such as Vertigo and Black Label. The longest-running Batman comic, Detective Comics, is the longest-running comic book in the United States. Batman is frequently depicted alongside other DC superheroes, such as Superman and Wonder Woman, as a member of organizations such as the Justice League and the Outsiders. In addition to Bruce Wayne, other characters have taken on the Batman persona on different occasions, such as Jean-Paul Valley / Azrael in the 1993–1994 "Knightfall" story arc; Dick Grayson, the first Robin, from 2009 to 2011; and Jace Fox, son of Wayne's ally Lucius, as of 2021. DC has also published comics featuring alternate versions of Batman, including the incarnation seen in The Dark Knight Returns and its successors, the incarnation from the Flashpoint (2011) event, and numerous interpretations from Elseworlds stories.
One of the most iconic characters in popular culture, Batman has been listed among the greatest comic book superheroes and fictional characters ever created. He is one of the most commercially successful superheroes, and his likeness has been licensed and featured in various media and merchandise sold around the world; this includes toy lines such as Lego Batman and video games like the Batman: Arkham series. Batman has been adapted in live-action and animated incarnations, including the 1960s Batman television series played by Adam West and in film by Michael Keaton in Batman (1989), Batman Returns (1992), and The Flash (2023), Val Kilmer in Batman Forever (1995), George Clooney in Batman & Robin (1997), Christian Bale in The Dark Knight trilogy (2005–2012), Ben Affleck in the DC Extended Universe (2016–2023), and Robert Pattinson in The Batman (2022). Kevin Conroy, Diedrich Bader, Jensen Ackles, Troy Baker, and Will Arnett, among others, have provided the character's voice.
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.