I would like to be a boss because I like to make rules.


Image by robotpolisher
At the Greenpoint YMCA the other day Jessie pointed out this piece of genius hanging up with a bunch of other kids’ drawings about what they wanted to be when they grow up . You really gotta see it in detail to get the full-blown effect of how awesome this thing is.

Personally I think this has "oldest sibling" written all over it. Be careful, your kids are one day going to end up working for this girl’s kids, I promise.

Rogue Magazine – October 1964 – Volume 9 Number 5 – Water Balloons …..item 1..routinely use devious devices — wears us down like rabid trial lawyers until we give in (August 15, 2011 / 15 Av 5771) …


Image by marsmet542
As these “kids” continued on the path of subverting long term goals through opportunistic, deceptive behavior, they remained stunted; locked in infantile patterns that destroyed esteem and ethics, making true friendship and commitment to anything or anyone almost impossible.

…..item 1)….aish.com….The Manipulative Child….Red flags and how to break the cycle.

by Marnie Winston-Macauley

August 15, 2011 / 15 Av 5771

www.aish.com/f/p/The_Manipulative_Child.html

Ten-year-old Becca could play “Annie” with her bright red hair and freckles. But Becca’s too busy running the household. Whether it’s bedtime or a visit to bubbe, Becca makes the rules. “I’m not going and you can’t make me!” Her parents, afraid to upset her, fail to see this for what it is … manipulation by “drama.”

“If you make me go to school today, I’ll throw up!” says David, eight. His “nervous stomach” is perfectly tuned to his “don’t want-to-do” list. His parents let him “time off” watching Spongebob and learning to pronounce “gastroenteritis.” They fail to see this for what it is … manipulation by “blackmail.”

“If you don’t talk to Abby, I’ll let you have my very best glitter. BUT if you do, I’ll TELL EVERYONE THAT YOU ………” threatens Debby, 11. Abby was exiled, and her “friends” came to Debby’s pajama party – in glitter. Mom thinks she’s “popular,” failing to see this for what it is … manipulation by “bribery.”

The goal of manipulation is more often the attempt to gain control over anxiety through avoidance.

Most of us think of manipulation as a method of getting something that’s denied us, whether it’s that vacation we want, or, the “upper-hand.” Yet, the goal of manipulation is more often the attempt to gain control over anxiety through avoidance, especially in new or stressful situations. Even as ethical adults, who among us hasn’t cancelled that root canal due to “flu” or begged off an unpleasant hospital visit?

With young children, every experience holds new anxiety-triggers. I’ve yet to meet a child who hasn’t tried some of the tricks above to avoid fear of failure, loss of face, or challenges – at least once or twice.

But, when I use the term “manipulative child,” I’m referring to those who routinely use devious devices. Tragically, while they may “win” through lying, whining, guilting, bullying or bribing in the short run, they’ll inevitably face failure, frustration, a lack of esteem, confidence – and ethics in the long run.

After all, they’ve learned early that these avoidance tricks worked. As they head toward adulthood and find that life doesn’t always suit them, these “skills” get shakier. Unable to exercise honest, ethical, straightforward strategies to manage anxiety, they flail powerless, and fail time and time again, sometimes dropping out, or turning to other risky behaviors,

bothered, bewildered, blaming – and remaining dependent “kids” until they’re on Medicare. Listen …

“My son’s 42 and he still lives with me, rent-free, while I do his laundry and cook his meals.”

“My daughter, 32, can’t keep a husband or a job, and keeps demanding money. When I tell her I’m living on Social Security, she whines, begs, or argues!”

“We’re sick of bailing our 25-year-old out! While other parents are worried about being ‘empty-nesters,’ we’re praying to join them!”

As these “kids” continued on the path of subverting long term goals through opportunistic, deceptive behavior, they remained stunted; locked in infantile patterns that destroyed esteem and ethics, making true friendship and commitment to anything or anyone almost impossible.

Related Article: Discipline 911

—— Red Flags in Our Children

We know we’re dealing with a manipulative child when he or she routinely:

1. argues or whine incessantly over everything from rules to responsibilities.

2. distorts or edits reality. Most popular is the circular “why” tactic. They’ll come up with endless reasons why they can’t/shouldn’t/needn’t do it, and why “it’s stupid, unfair, or “unnecessary.”

3. wears us down like rabid trial lawyers until we give in.

4. deceives us through promising, lying, making excuses, procrastinating or “negotiating” (like rabid trial lawyers).

—— Parents as Manipulative Partners

For these tricks to work, the child must have a willing partner – us! In a home where a child’s manipulation rules, we’ve abdicated our parental role to that of “appeasers” and “fixers.” Despite rationalizations, giving in is “easier” in the short-term, even if we’re setting up disaster. The recipe for the care and feeding of little manipulators include parents who:

1. Try to appease their children and avoid any unpleasantness. When we fail to teach them how to manage reality or “change the rules” to accommodate them, we create wormholes for them to creep through.

2. Confuse boundaries between parent and child. When no one’s in charge, our little ones “step up.”

3. Foster dependence. When children expect others to “make them feel good,” or solve their problems, failures becomes everyone else’s fault.

4. Use manipulative discipline. False promises and bribing teach children how to play the game.

5. Place material things over deeper, ethical core values.

—— Breaking the Manipulation Cycle

It starts by not letting it start or continue.

1. We parents need to recognize our own “partnership.” It’s uncomfortable admitting we’re afraid of not being “loved” by our children, of setting limits, but owning up is essential in stopping the cycle. More, we need to ask ourselves, “Do we whine, kvetch, avoid, blame, bully?” If so, we’re teaching Manipulation 101.

2. Close wormholes! With new principles in place, get family rules and expectations in place. Post them. Consequences must be predictable and don’t change with the decibel level of our child – or our inconvenience. At first, the child will become ever more “creative.” Any exception is a set-back. The message: “It won’t work!” will only work with absolute consistency.

3. Empathize and support without “fixing.” Instead of doing that report for your child, or letting her stay home, the new response? “I know it’s hard. I also know you can do it. Calm down and work.” When we let them know we have expectations and trust their ability, instead of “I can’t,” they’ll learn, “I can, and I must.”

4. Reward truth, ethics, and yes, even failure. A successful adult owns it all honestly, then evaluates and persists.

It’s our job to create successful adults. Adults who get what they want through straight-shooting, taking on challenges they fear, and accepting responsibility for themselves.

More, the non-manipulator will also be manipulation proof! A child who is sure-footed is unlikely to be bullied, conned, or controlled. All it requires is getting them off the manipulative merry-go-round, by standing our ground. And that means that we, as parents, must stand on firm ground.
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Best answer:

Answer by kman
yes just try paid surveys and you will earn the money in no time………..visit the source

Add your own answer in the comments!

Bachelor’s Best Magazine — 1968..No7 053 — Women …..item1..My Husband’s Porn Addiction — I feel like I have been stabbed in the heart.


Image by marsmet542
I don’t know what to do now. I feel like I have been stabbed in the heart. I can’t trust him, I can’t speak to him, I don’t know what to do. Please help me move forward. Is there any hope for our marriage, because right now I don’t see a future.

…..item 1)…..aish.com…Dear Emuna: My Husband’s Porn Addiction…I feel like I have been stabbed in the heart. I can’t trust him and I don’t know what to do.

by Emuna Braverman

August 21, 2011 / 21 Av 5771

www.aish.com/ci/de/Dear_Emuna_My_Husbands_Porn_Addiction….

Dear Emuna,

I recently discovered some inappropriate sites on my husband’s smart phone. I might have looked passed it had it been a one-time distraction, but I felt insecure and I looked at the history on his phone. He had been visiting this site for quite some time and these images must now be imbedded in his head. I am unable to look at him the same way as before.

I confronted him on the issue. He began with denial, but after I told him of my solid proof he could no longer deny it. He became embarrassed, upset and angry, telling me that I am too sensitive. He comes from a less than nice background, involving numerous women and drugs, and I think they are creeping slowing into our marriage. He tried using the defense of the incredibly difficult time men have with this drive and he expressed that he is embarrassed and is trying to fix it.

I don’t know what to do now. I feel like I have been stabbed in the heart. I can’t trust him, I can’t speak to him, I don’t know what to do. Please help me move forward. Is there any hope for our marriage, because right now I don’t see a future.

– Despairing

Dear Despairing,

Don’t! There is definitely hope, lots of hope – as long as your husband is sincerely trying to address and change the situation. I’m not in any way trying to diminish this (I know it’s different than forgetting an anniversary) but everyone makes mistakes. The key to a successful marriage – and a successful life for that matter – is not never erring. It’s how you cope with the mistake. It’s acknowledging the flaw. It’s making a real and sincere effort to change.

Since I don’t know your husband, I can’t comment on the impact of his background but, unfortunately, the easy access to these images has led many men, even with more pristine backgrounds, to stumble.
Let’s give your husband the benefit of the doubt and assume that his initial response of blaming it on the power of his physical desire was just a knee-jerk defensive reaction. Yes, all men have strong drives – but the truth is that truly being a man frequently means NOT acting on them.

It as nothing to do with your desirability or attractiveness. It’s part of the hardwiring of men and it must be controlled.

Perhaps he was trying to suggest that it wasn’t personal. He’s right about that. Pay attention here. Hard as it is to swallow, it as nothing to do with your desirability or attractiveness. This is a crucial point to recognize. It is part of the hardwiring of men and it must be controlled. That’s why the Torah imposes so many safeguards on the relationships between men and women. That’s why there are so many fences and such limited contact. That’s which the beach in LA is not a good summertime activity. It’s not about you or your physical appeal. It’s not about his caring for you or his commitment to you. But it is a problem.

And if he is sincere about trying to fix it, he can’t do it by himself. He needs to see a therapist who specializes in these kinds of issues. He cannot do it alone. Note the repetition. I do believe that the seriousness of the effort is evidenced by the willingness to seek help. Yes, he’s humiliated and embarrassed. But this issue must be addressed – for his own sake and for the sake of your marriage.
Because this problem is extremely common, there are many resources available to deal with it. Do the research in your community to find a competent therapist and other support systems. There is also the website Guard Your Eyes which has helped a number of people.

Issues like this don’t disappear overnight. You may have a long haul ahead. You may need to derive strength from your strong sense of the commitment you made under the chupah – to the marriage and to this person. But there is definitely hope. As long as you are both ready to do the heavy lifting.

– Emuna

Related Article: X-Rated

www.aish.com/sp/so/X-Rated.html

Dear Emuna,

My wife and I have been together intimately only a few times in the last couple of years. She says I need to go to counseling. Her list is endless; she is always correcting me in some way. She can be pretty cruel with her words and then act like nothing happened. I do try to be the best I can. I’m not sure what I’m missing. We have been married 33 years have two grown children and five grandkids. She also corrects them constantly. Not sure how much more I can take. Any advice?

33 Long Years

Dear Mr. Patience,

You don’t specify that connection between your infrequent intimacy and your wife’s constant criticism but I suspect that is what you are saying. Her frequent attacks on you impact your ability to get close to her – in all respects. That is certainly painful. But 33 years is a long time to throw away and my guess is that your wife has no idea how desperate you feel. She is so used to that way of being that she has lost touch with the damage it does to all her relationships.

I think your best bet is to try to talk to her – in a loving way, when you’re not feeling frustrated or angry or hurt. See if you can access those feelings of caring you have for her and communicate out of that place of depth and emotion.

“I love you.” “I value our relationship.” “Our family is important to me.” And “It hurts me when you speak to me like that.” “I think it’s painful for the children when you criticize them.” “I’m doing my best to change; please help me with positive comments instead of negative ones.”

I hope this will help. You’ve allowed it to exist for a long time. But I believe your wife doesn’t realize the depth of your frustration or the potential horrific consequences. You need to give her that information and a chance to change and make amends. You owe her that much after 33 years.

– Emuna
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…..item 2)…..aish.com…..X-Rated…..My addiction to pornography. A cautionary true story…

by Seth

Reader discretion is advised

www.aish.com/sp/so/X-Rated.html

Reader discretion is advised.

I first encountered pornography in the back of a convenience store when I was 11 years old. Separated from the rest of the store was an "Adults Only" section with no one in it. I could browse with ease. At first the pictures were simply interesting. I’d never seen anything like it. I remember asking my younger sister, in all innocence, "Are those pictures real?" We both laughed…but for me it wasn’t funny. I’d think about them. I’d look for every opportunity to slip in and browse for more material to fuel my imagination. I began to fantasize.

The store made the adult section smaller and eventually it disappeared. But the seeds had been planted.

I went to away to a boarding school for high school and devoted myself to studying. I had always been a good student and quickly rose to the top 10% of the class. Then in 11th grade, I discovered masturbation and my inner world began to take shape. I began writing stories to fuel my fantasies. One night, desperate to get to the "next level" and buy a magazine, I borrowed a friend’s bike and rode to a convenience store that sold pornography. But I was only 17, just a few months shy of the "legal" age and came back empty handed.

My birthday soon arrived and I got to the next level. After a while, this too became old and unexciting, so I overcame my natural shame and reticence and entered a full fledged adult bookstore for the first time. I began stocking up on back issues of magazines that were sold at deep discounts. I didn’t need much money to pursue my guilty pleasures. Porn provided a way to escape the pain I was experiencing in day-to-day life, and it made me feel good, at least temporarily.

I did feel guilty about what I was doing, but the message from popular culture was that this is not only common, it is to be expected. It’s a normal part of becoming an adult. It’s just a temporary stage; once you get married you’ll have an outlet, you’ll grow up and move on.

My double life did not magically merge into one wholesome existence. I had a deep, dark secret.

Indeed, life moved on. I continued my education after high school, spent some time in Israel and earned a bachelors degree. I got married and began raising a family. I worked pretty hard; life was good, but my double life did not magically merge into one wholesome existence. I had a deep, dark secret. At this point, it felt dirty no matter what the world said. Although I confided in my wife while we were dating, I’d told her that I no longer indulged and considered it behind me. So she knew nothing of the ongoing nature of the problem. In fact, I did manage to stay "clean" for the first few years of marriage, but the emergence of the internet and the ease of access soon became too hard to ignore and I fell back into my old habits.

I quickly got hooked again and couldn’t quit. It didn’t take long for my addiction to escalate. Although I did not "graduate" to more extreme types of activities, the frequency and degree of temptation increased. Sights that would not even register with someone who never viewed pornography became triggers and demanded release.

Eventually I began to feel numb and desensitized, which lead to feelings of desperation to feel the same arousal again. Like any drug, you need to constantly increase the dose and lower the bar to get that fix. Each time you act out, the so-called pleasure diminishes and the pain grows, along with the need. Over time, you become extremely sensitive to the slightest hint of your "drug" while at the same time the dose needed to satisfy the urge grows, leading to an ever widening chasm that cannot possibly be filled, and eventually to constant pain and near obsession.

The obsession created a chasm between my inside and outside personas. Outside, I was a successful family man living in a nice Jewish community and happily married. Inside, it was all about lust, focusing on the next "fix." I began to identify less with my peers since I didn’t really inhabit the same universe as them. I wasn’t getting as much satisfaction from my job or other pursuits. Lust was the primary thing making me feel alive. Thus the chasm affected not only my ability to form and maintain healthy relationships, it spilled over into other areas of life as well.

I knew I couldn’t reconcile this with my chosen lifestyle. It didn’t feel normal, no matter what the message on the billboard would have me believe. I tried to stop but eventually fell again. I was at an impasse — determined to quit but unable to do so.

Long before you self-destruct on the outside, you’ve died on the inside.

The guilt and self-loathing were becoming overwhelming. You watch all your dreams and aspirations crumble by your own hand. Long before you self-destruct on the outside, you’ve died on the inside.

At the Precipice

Thankfully, I recognized that I was on that downward spiral, heading toward self-destruction. The person I was on the inside felt less than human.

One day, while perusing a Jewish news site, I found a banner ad aimed right in my direction — "Guard Your Eyes," a new site for Jews struggling with the challenge of pornography. There were a few stories, discussions of the problem and its prevalence in modern society. I felt like a weight had been lifted off my chest; my secret was hidden no more. I read every word and found links to other similar sites, and read some more. It was both liberating and extremely stressful at the same time. While living a double life, I had successfully managed to ignore the ugly part and compartmentalize. Now I was being challenged to confront reality head on. There was a way out and I was determined to take it.

The goal was clear — I needed to stop living in my head. Satisfaction and fulfillment would have to come from real activities and pursuits that took place in the outside world, among real people. Step one was accountability. I needed to reveal my secret to another human being and close the gap that divided the good from the bad. I had to become one person who had a problem to confront.

I contacted the site administrator and established a daily check in with another member via e-mail. I spoke to a therapist and my rabbi. Both committed to help me. It quickly became clear that if I was going to tackle this and heal, I had to tell my wife. After agonizing for several days, I did. Understandably, she did not react very well and left the house. While waiting for her to come back I experienced the most excruciating emotional pain I have ever experienced in my life. In hindsight, the depth of the pain was the biggest blessing I was given throughout this struggle, since my wish to avoid a repeat is by far the strongest motivation I have to stay clean. I never want to go through that again.

Face the Consequences

Although the secret was out, years of living in another world create habits of thought that do not vanish as soon as they’re revealed. The techniques that help me in my recovery are of two basic types. The first are practical ways to stop acting out.

One way was to write a detailed list of the consequences of not stopping, including experiencing deep emotional pain, losing everything worthwhile in my life (my wife and children, my job and the respect of colleagues and peers), failing at the goals I set for myself, shame at giving in to a destructive force against my will, and losing my connection to fulfilling higher pursuits and ideals.

Resisting at the critical moment is all it takes — after that, the urge subsides.

No less important is the list of the rewards of stopping: I will thrive. I will earn and keep the respect and companionship of my wife, the best life partner I could ever ask for. I will be emotionally healthy and experience contentment and happiness every day of my life. I will enjoy the pleasures of the world the way they were intended to be enjoyed, with no painful aftertaste. I will raise happy and healthy children and maintain close and loving relationships with them and their children as well. And I will have the freedom to pursue and the tools to attain goals that were beyond my reach until now.

Another way is to think of all the scenarios that prompted the urge to act out in the past and avoid putting myself in those positions, keeping myself occupied with positive and productive activities instead. For example, if browsing the internet got me into trouble, install failsafe filters to which I don’t have the password. Call or e-mail my accountability partner when the urge to act out strengthens. Resisting at the critical moment is all it takes — after that, the urge subsides. Set manageable goals. Don’t think about stopping "for the rest of your life," rather think about stopping just for today.

Getting to the Root of the Problem

The second part of recovery consists of actively pursuing positive goals. Nature abhors a vacuum. Although ultimately porn brings pain, for so long it had provided a degree of counterfeit pleasure and relief from the trials of life. The trials haven’t gone away but the method of living with them, acting out through porn, is being taken away, leaving a vacuum. This needs to be filled or sooner or later the urge to go back to former habits will become overwhelming.

The way to fill the hole is unique to each person and depends on their individual makeup and what makes them tick. As described above, porn splits a person into two, turning the internal person into one who is focused solely on lust. True self awareness has never been developed and therefore the knowledge of what makes you tick and what activities to pursue to bring true fulfillment is missing. There is no internal structure, but there needs to be! Thus the first step is to become self aware.

Therapy is a good way to get started. Slowly you find out how to recognize your own feelings and evaluate what causes them. You can then evaluate whether they make sense and what to do about them. For example, say you are now able to identify when you feel stressed. In the past, the feelings were not identified however the stress was all too real, prompting the urge to alleviate it by acting out. Now that you’re aware, you can evaluate the cause. You may realize, "I feel stressed because I didn’t close the deal." Once the cause is identified, you can determine whether it’s justified. "Do I have to close every deal? I closed three deals already this week — that’s pretty good!" This recognition brings relief and the stress goes away.

But let’s say the stress is indeed justified. "I feel stressed because I said something hurtful to a friend that was unwarranted." Now you can either apologize and ask for forgiveness, or at the very least resolve to be more careful in the future. Again, the decision brings relief and the stress dissipates.

Once the internal structure is in place, real building can begin. You’re finally ready to identify what makes you tick. What’s important to you and what isn’t? What are your true values, and what are your goals to achieve them? New thought patterns can be established and a life of growth and true fulfillment can begin. As I began working on this, it was painfully obvious that living a life focused solely on my own immediate pleasure did not bring lasting satisfaction.

Becoming clean enabled me to reclaim the inner depth and connection that intimacy can bring.

My view of intimacy has also deepened. Physical intimacy is a gift from the Almighty. It is powerful way I can give to my wife, the woman I am committed to and love most in the world. Porn takes this potentially spiritual act of love and profanes it by reducing it to a selfish mechanism to fulfill one’s animalistic drives. Becoming clean enabled me to reclaim the inner depth and connection that intimacy can bring, using it to express my soul drive as opposed to my baser, lower side.

I am also blessed to have a true life partner in my wife. After the initial shock and pain, with time and effort she was able to not only forgive and understand but truly support my progress in recovery. Our relationship is deeper and richer as a result.

I realize my experience is extreme, but there is a good reason why porn is a multi-billion dollar industry — there are many suffering from this addiction. And any amount is bad news. Rabbi Dr. Abraham Twerski, an expert in therapy addictions, says for some all it takes is one viewing of pornography to get hooked. Porn distances you from your inner soul; it lowers yourself and reduces women to objects. Take it from me, you’re playing with fire.

Porn is all sizzle, no meat. Like all counterfeit pleasures, it leaves you feeling empty and hollow, devoid of meaning. Real pleasure carries no shame; it’s uplifting and life affirming. This most powerful physical pleasure has the potential to build and destroy. Choose wisely.
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Street Art – No Future On The Streets Of Dublin


Image by infomatique
[UPDATE]
DUBLIN City Council has run out of funding for key graffiti removal programmes, a Northside councillor has claimed.
Cllr Anne Carter (Lab) claims that she has been informed that no more graffiti will be removed by Dublin City Council unless it is seriously offensive or on its property.

[ORIGINAL]
For the last three years I have photographed Graffiti and "street art" in general throughout greater Dublin and to date I have had the impression that the local authorities or the police (Garda) were not really interested in taking any action against graffiti artists. This may be about to change because the Green Party are now part of our new government.

Green Party T.D. John Gormley has in the past called for sweeping measures to stop the “serious problem” of graffiti. Namely:

The introduction of specific legislation to deal with the offence of graffiti/street art
The establishment of a Special Garda Graffiti Unit to target artists
Rewards to be offered for tip-offs on Taggers
Community service orders
A Graffiti Hotline
Revoking the driving licences of graffiti artists
Banning the sale of spray paint to minors as well as banning the possession of spray paint in public place.

Do solutions such as suspending someone’s driving licence indicate that the Green Party consider Graffiti to be as serious as drunken driving which actually results in many deaths?

To get a feel for their thinking on this topic I have included a statement that Mr. Gormley read to the Dail (Irish Parliament) a few years ago.

====MORE DETAIL======
Here is a statement made by Mr. Gormley about a year ago in the Irish Parliament. While his comments may be specific to Dublin or Ireland it still makes interesting reading no matter where you live.
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Mr. Gormley: I thank the Ceann Comhairle for giving me the opportunity to raise the issue of graffiti vandalism, a problem which is becoming worse by the day in Dublin city and elsewhere. From previous parliamentary questions I put down on this issue, it appears the Government does not have a coherent strategy to deal with this issue. Local authorities are only now becoming aware that there is a serious problem. However, they simply do not have the resources or legislation to tackle it properly.
Anyone who has visited capital cities throughout Europe knows that graffiti vandalism is a major problem in Paris, Berlin and Rome. These beautiful cities have been defaced by these graffiti vandals. Interestingly, London does not appear to have the same problem, nor does New York, a city I visited last week for the UN conference on AIDS. Surely it would not be too much for this Government to examine how the New York authorities, or the authorities in New South Wales in Australia, dealt with the graffiti problem.
The US is one of the most progressive countries when it comes to anti-graffiti measures. Its innovative approaches include providing incentives for citizens to use protective coatings to minimise the damage caused by graffiti, revoking the driving licences of graffiti offenders, banning the sale of spray paint to minors, banning the possession of spray paint in public places and the rapid removal or painting over of graffiti once it is discovered. Its graffiti solutions programme builds on deterrents and law enforcement and focuses on prevention, harm minimisation and the removal of graffiti.
It appears we have no specific graffiti offence in Irish law, nor has the Minister any intention to introduce specific legislation. We were informed by the Minister for Justice, Equality and Law Reform that the Criminal Damage Act 1991 and the Litter Pollution Act 1997 cover the offence of graffiti. However, it is not at all clear how many people were convicted for graffiti vandalism last year. The Minister for Justice, Equality and Law Reform informed the House that there were 1,702 convictions for damaging or defacing property. How many were for graffiti vandalism? We were also told there was one conviction under the Litter Pollution Act 1997. Again, was this for graffiti vandalism?
The Minister for the Environment, Heritage and Local Government, Deputy Roche, in reply to a parliamentary question stated he considers this legislation adequate. If this is so, why have we seen an upsurge in graffiti throughout Dublin? We cannot afford to underestimate the extent of this problem. This is not a harmless activity. Householders and shopkeepers must remove the graffiti and this costs a considerable amount of money. I know the owner of the pen shop on Dame Street had to remove graffiti from his windows and stonework on at least three occasions. Not only that, but graffiti gives rise to a sense of urban blight and lawlessness.
Although New South Wales had legislation dealing with property offences, it was felt necessary to introduce specific graffiti offences. These include damaging and defacing property by means of spray paint without reasonable excuse, the proof of which lies with the person. It attracts a maximum fine of 2,200 Australian dollars or imprisonment for six months or a period of community service work. It is also an offence for a person to have spray paint in his or her possession, with the intention that it should be used to damage or deface premises or other property.
Graffiti removal costs money. Approximately billion a year is spent in the United States on the removal of graffiti. I suspect if we calculated the costs here, it would be considerable. It is often borne by the individual householder or shopkeeper. It is not good enough for the Government to continue to put its head in the sand on this issue.
I will suggest a number of steps we could use to deal with graffiti vandalism. The Government must introduce specific legislation to deal with the offence of graffiti vandalism. The Garda must have a special unit, as do many police forces in the United States, to deal with graffiti vandalism. New York city has GHOST, the graffiti habitual offenders suppression team, which gathers information using digital cameras. Rewards should also be offered, as in the United States, for tip-offs on "taggers" as they are known there.
Community service orders for individuals caught defacing property with graffiti should include provision that they remove the graffiti themselves in certain areas. Local authorities must be allocated sufficient resources and a system put in place for the quick removal of graffiti on public and private property. There should be a graffiti hotline to report graffiti immediately so it can be dealt with quickly. We need a graffiti strategy which includes the Garda, Dublin City Council, the Chamber of Commerce and residents’ associations.
People suggest that certain graffiti amounts to artistic expression. If this is so, we can always make available blank walls in certain parts of the city to those who want to express themselves. However, much of what I witness does not amount to artistic expression. It is, quite simply, vandalism.
Mr. McDowell: I am standing in for my colleague the Minister for the Environment, Heritage and Local Government, Deputy Roche, but I agree with every word the Deputy stated. Our response to graffiti has not been adequate to date and serious action must be taken on it. The constituency Deputy Gormley and I share has been under sustained attack in recent times. It seems to be spreading everywhere. I will return to that issue if I can.
Under the Litter Pollution Act, primary responsibility lies with local authorities. It is their function and we cannot establish a national body. I understand what the Deputy stated on Garda involvement and I will return to that issue. Gardaí have a great deal to do, but waiting and hoping that someone will produce a spray can and deface a wall in their presence is not productive.
The Minister for the Environment, Heritage and Local Government, Deputy Roche, is satisfied that local authorities have adequate power under sections 19 and 20 to tackle the problem of defacement of property that is in, or visible from, a public place. Section 19 makes it an offence to deface property without the written authority of the relevant owner, occupier or person in charge. A local authority or its agents may enter and take the necessary remedial action.
Section 20 is a complementary provision which enables a local authority in the interests of amenity or of the environment to take remedial action on graffiti, even if it has been put up with the consent of the owner, which I imagine is extremely rare. The local authority may serve a notice on the occupier requiring steps to be taken to remove or otherwise remedy the defacement within a specified period of not less than seven days. Failure to comply with such a notice is an offence and, in the case of an offence, the local authority may give effect to the notice and recover costs. The local authority may also by arrangement with the occupier take steps to remedy the defacement. The local authority or its agents may by agreement enter and remedy the defacement themselves. It is also an offence to obstruct or impede a local authority in these actions under sections 19 and 20. Penalties under the litter Acts range from an on-the-spot fine of €125 to a fine, on summary conviction, not exceeding €3,000 or, on indictment, a fine not exceeding €130,000.
In addition to the Litter Pollution Acts, the Criminal Damage Act 1991 provides for the offences of damaging or defacing property. The Garda authorities take these very seriously. The Garda has put Operation Encounter and Operation Assist in place to focus on anti-social behaviour, including offences of criminal damage and defacing property. When gardaí detect such offences, culprits are processed through the courts or via the juvenile liaison system, as appropriate.
The Department of the Environment, Heritage and Local Government, in conjunction with the Department of Justice, Equality and Law Reform and the Department of Community, Rural and Gaeltacht Affairs has embarked on a pilot project to tackle graffiti specifically. It was originally proposed to operate in RAPID areas only but this did not occur. The obvious danger was that the activities in question would be displaced to non-RAPID areas, in which case the project would have achieved nothing.
I agree with the Deputy it is important for local authorities to provide a service enabling the rapid removal of graffiti. If one spends half an hour putting it up and it is gone the next day, one will not be so keen to do so again. That is the best way to curtail the activity rather than hoping a garda will find a graffiti artist in the act, given that the latter will obviously have a look-out to watch out for gardaí.
Each of Deputy Gormley’s suggestions is constructive. Some €3 million has been provided this year for the pilot programme, which I want to see work. I was unhappy with the RAPID-based criterion and we will now operate on the basis of Garda districts instead.
Some national authorities take this matter very seriously and I notice that the NRA tries to paint out graffiti on motorways. The best deterrent is simply to eliminate it as rapidly as possible. In other areas, there is less progress.
Property owners must keep their premises clean. Even if they are vandalised they cannot say somebody else is responsible and that it is therefore somebody else’s problem to solve. If one owns property, one’s duty is to keep it clear of graffiti. Small shop owners and others whose lives would be made impossible by constant graffiti attacks should be assisted and I agree with the Deputy in this regard. However, it is a different matter in the case of large property development companies that have not got around to cleaning up their properties. It is no more acceptable for them to allow graffiti to be on their premises than to allow their sewers to be cracked. Graffiti is anti-social and degrades the whole community.
It will be interesting to see how the pilot programme works out this year. I agree very strongly with the Deputy that local authorities must raise their game to solve the problem and join in a partnership approach with the Garda to gain intelligence on who is responsible.
The Deputy made a good point on one’s being in possession of spray paints without a reasonable excuse in circumstances giving rise to the inference that one might be a graffiti artist. We should include a provision that takes this into account in our law. Somebody, on doing a little research, should be able to track down where the major sales of spray paint are taking place and to whom it is being sold. Even if it can be ordered over the Internet, thus making it difficult to prevent, as was put to me, we must constantly make life difficult rather than easy for vandals.
I am grateful that the Deputy has raised this issue and I hope he will be glad that one of the pilot schemes is based in his and my constituency. We should see some of its benefits in the very near future.

Banksy in Boston: Visitors getting photos with the NO LOITRIN piece on Essex St in Central Square, Cambridge


Image by Chris Devers
Interestingly, both of the Boston area Banksy pieces are on Essex St:

• F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED (aka chimney sweep) in Chinatown, Boston
• NO LOITRIN in Central Square, Cambridge.

Does that mean anything? It looks like he favors Essex named streets & roads when he can. In 2008, he did another notable Essex work in London, for example, and posters on the Banksy Forums picked up & discussed on the Essex link as well.

Is there an Essex Street in any of the other nearby towns? It looks like there are several: Brookline, Charlestown, Chelsea, Gloucester, Haverhill, Lawrence, Lynn, Medford, Melrose, Quincy, Revere, Salem, Saugus, Somerville, Swampscott, and Waltham. Most of these seem improbable to me, other than maybe Brookline, or maybe Somerville or Charlestown. But they start getting pretty suburban after that.

But, again, why "Essex"? In a comment on this photo, Birbeck helps clarify:

I can only surmise that he’s having a ‘dig’ at Essex UK, especially with the misspelling of ‘Loitering’. Here, the general view of the urban districts in Essex: working class but with right wing views; that they’re not the most intellectual bunch; rather obsessed with fashion (well, their idea of it); their place of worship is the shopping mall; enjoy rowdy nights out; girls are thought of as being dumb, fake blonde hair/tans and promiscuous; and guys are good at the ‘chit chat’, and swagger around showing off their dosh (money).

It was also the region that once had Europe’s largest Ford motor factory. In its heyday, 1 in 3 British cars were made in Dagenham, Essex. Pay was good for such unskilled labour, generations worked mind-numbing routines on assembly lines for 80 years. In 2002 the recession ended the dream.

• • • • •

This photo appeared on Grafitti – A arte das ruas on Yahoo Meme. Yes, Yahoo has a Tumblr/Posterous-esque "Meme" service now — I was as surprised as you are.

• • • • •

Banksy
From Wikipedia, the free encyclopedia

Banksy
• Birth name
Unknown

• Born
1974 or 1975 (1974 or 1975), Bristol, UK[1]

• Nationality
British

• Field
Graffiti
Street Art
Bristol underground scene
Sculpture

• Movement
Anti-Totalitarianism
Anti-capitalism
Pacifism
Anti-War
Anarchism
Atheism
Anti-Fascism

• Works
Naked Man Image
One Nation Under CCTV
Anarchist Rat
Ozone’s Angel
Pulp Fiction

Banksy is a pseudonymous[2][3][4] British graffiti artist. He is believed to be a native of Yate, South Gloucestershire, near Bristol[2] and to have been born in 1974,[5] but his identity is unknown.[6] According to Tristan Manco[who?], Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s."[7] His artworks are often satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world.[8] Banksy’s work was born out of the Bristol underground scene which involved collaborations between artists and musicians.

Banksy does not sell photos of street graffiti.[9] Art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.[10]

Banksy’s first film, Exit Through The Gift Shop, billed as "the world’s first street art disaster movie", made its debut at the 2010 Sundance Film Festival.[11] The film was released in the UK on March 5.[12]

Contents

• 1 Career
•• 1.1 2000
•• 1.2 2002
•• 1.3 2003
•• 1.4 2004
•• 1.5 2005
•• 1.6 2006
•• 1.7 2007
•• 1.8 2008
•• 1.9 2009
•• 1.10 2010
• 2 Notable art pieces
• 3 Technique
• 4 Identity
• 5 Controversy
• 6 Bibliography
• 7 References
• 8 External links

Career

Banksy started as a freehand graffiti artist 1992–1994[14] as one of Bristol’s DryBreadZ Crew (DBZ), with Kato and Tes.[15] He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too.[14] By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a piece. He claims he changed to stencilling whilst he was hiding from the police under a train carriage, when he noticed the stencilled serial number[16] and by employing this technique, he soon became more widely noticed for his art around Bristol and London.[16]

Stencil on the waterline of The Thekla, an entertainment boat in central Bristol – (wider view). The image of Death is based on a 19th century etching illustrating the pestilence of The Great Stink.[17]

Banksy’s stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects often include rats, monkeys, policemen, soldiers, children, and the elderly.

In late 2001, on a trip to Sydney and Melbourne, Australia, he met up with the Gen-X pastellist, visual activist, and recluse James DeWeaver in Byron Bay[clarification needed], where he stencilled a parachuting rat with a clothes peg on its nose above a toilet at the Arts Factory Lodge. This stencil can no longer be located. He also makes stickers (the Neighbourhood Watch subvert) and sculpture (the murdered phone-box), and was responsible for the cover art of Blur’s 2003 album Think Tank.

2000

The album cover for Monk & Canatella‘s Do Community Service was conceived and illustrated by Banksy, based on his contribution to the "Walls on fire" event in Bristol 1998.[18][citation needed]

2002

On 19 July 2002, Banksy’s first Los Angeles exhibition debuted at 33 1/3 Gallery, a small Silverlake venue owned by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion, Funk Lazy Promotions, and B+.[19]

2003

In 2003 in an exhibition called Turf War, held in a warehouse, Banksy painted on animals. Although the RSPCA declared the conditions suitable, an animal rights activist chained herself to the railings in protest.[20] He later moved on to producing subverted paintings; one example is Monet‘s Water Lily Pond, adapted to include urban detritus such as litter and a shopping trolley floating in its reflective waters; another is Edward Hopper‘s Nighthawks, redrawn to show that the characters are looking at a British football hooligan, dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the cafe. These oil paintings were shown at a twelve-day exhibition in Westbourne Grove, London in 2005.[21]

2004

In August 2004, Banksy produced a quantity of spoof British £10 notes substituting the picture of the Queen’s head with Princess Diana‘s head and changing the text "Bank of England" to "Banksy of England." Someone threw a large wad of these into a crowd at Notting Hill Carnival that year, which some recipients then tried to spend in local shops. These notes were also given with invitations to a Santa’s Ghetto exhibition by Pictures on Walls. The individual notes have since been selling on eBay for about £200 each. A wad of the notes were also thrown over a fence and into the crowd near the NME signing tent at The Reading Festival. A limited run of 50 signed posters containing ten uncut notes were also produced and sold by Pictures on Walls for £100 each to commemorate the death of Princess Diana. One of these sold in October 2007 at Bonhams auction house in London for £24,000.

2005

In August 2005, Banksy, on a trip to the Palestinian territories, created nine images on Israel’s highly controversial West Bank barrier. He reportedly said "The Israeli government is building a wall surrounding the occupied Palestinian territories. It stands three times the height of the Berlin Wall and will eventually run for over 700km—the distance from London to Zurich. "[22]

2006

• Banksy held an exhibition called Barely Legal, billed as a "three day vandalised warehouse extravaganza" in Los Angeles, on the weekend of 16 September. The exhibition featured a live "elephant in a room", painted in a pink and gold floral wallpaper pattern.[23]
• After Christina Aguilera bought an original of Queen Victoria as a lesbian and two prints for £25,000,[24] on 19 October 2006 a set of Kate Moss paintings sold in Sotheby’s London for £50,400, setting an auction record for Banksy’s work. The six silk-screen prints, featuring the model painted in the style of Andy Warhol‘s Marilyn Monroe pictures, sold for five times their estimated value. His stencil of a green Mona Lisa with real paint dripping from her eyes sold for £57,600 at the same auction.[25]
• In December, journalist Max Foster coined the phrase, "the Banksy Effect", to illustrate how interest in other street artists was growing on the back of Banksy’s success.[26]

2007

• On 21 February 2007, Sotheby’s auction house in London auctioned three works, reaching the highest ever price for a Banksy work at auction: over £102,000 for his Bombing Middle England. Two of his other graffiti works, Balloon Girl and Bomb Hugger, sold for £37,200 and £31,200 respectively, which were well above their estimated prices.[27] The following day’s auction saw a further three Banksy works reach soaring prices: Ballerina With Action Man Parts reached £96,000; Glory sold for £72,000; Untitled (2004) sold for £33,600; all significantly above estimated values.[28] To coincide with the second day of auctions, Banksy updated his website with a new image of an auction house scene showing people bidding on a picture that said, "I Can’t Believe You Morons Actually Buy This Shit."[6]
• In February 2007, the owners of a house with a Banksy mural on the side in Bristol decided to sell the house through Red Propeller art gallery after offers fell through because the prospective buyers wanted to remove the mural. It is listed as a mural which comes with a house attached.[29]
• In April 2007, Transport for London painted over Banksy’s iconic image of a scene from Quentin Tarantino‘s Pulp Fiction, with Samuel L. Jackson and John Travolta clutching bananas instead of guns. Although the image was very popular, Transport for London claimed that the "graffiti" created "a general atmosphere of neglect and social decay which in turn encourages crime" and their staff are "professional cleaners not professional art critics".[30] Banksy tagged the same site again (pictured at right). This time the actors were portrayed as holding real guns instead of bananas, but they were adorned with banana costumes. Banksy made a tribute art piece over this second Pulp Fiction piece. The tribute was for 19-year-old British graffiti artist Ozone, who was hit by an underground train in Barking, East London, along with fellow artist Wants, on 12 January 2007.[31] The piece was of an angel wearing a bullet-proof vest, holding a skull. He also wrote a note on his website, saying:

The last time I hit this spot I painted a crap picture of two men in banana costumes waving hand guns. A few weeks later a writer called Ozone completely dogged it and then wrote ‘If it’s better next time I’ll leave it’ in the bottom corner. When we lost Ozone we lost a fearless graffiti writer and as it turns out a pretty perceptive art critic. Ozone – rest in peace.[citation needed]

Ozone’s Angel

• On 27 April 2007, a new record high for the sale of Banksy’s work was set with the auction of the work Space Girl & Bird fetching £288,000 (US6,000), around 20 times the estimate at Bonhams of London.[32]
• On 21 May 2007 Banksy gained the award for Art’s Greatest living Briton. Banksy, as expected, did not turn up to collect his award, and continued with his notoriously anonymous status.
• On 4 June 2007, it was reported that Banksy’s The Drinker had been stolen.[33][34]
• In October 2007, most of his works offered for sale at Bonhams auction house in London sold for more than twice their reserve price.[35]

• Banksy has published a "manifesto" on his website.[36] The text of the manifesto is credited as the diary entry of one Lieutenant Colonel Mervin Willett Gonin, DSO, which is exhibited in the Imperial War Museum. It describes how a shipment of lipstick to the Bergen-Belsen concentration camp immediately after its liberation at the end of World War II helped the internees regain their humanity. However, as of 18 January 2008, Banksy’s Manifesto has been substituted with Graffiti Heroes #03 that describes Peter Chappell’s graffiti quest of the 1970s that worked to free George Davis of his imprisonment.[37] By 12 August 2009 he was relying on Emo Phillips’ "When I was a kid I used to pray every night for a new bicycle. Then I realised God doesn’t work that way, so I stole one and prayed for forgiveness."
• A small number of Banksy’s works can be seen in the movie Children of Men, including a stenciled image of two policemen kissing and another stencil of a child looking down a shop.
• In the 2007 film Shoot ‘Em Up starring Clive Owen, Banksy’s tag can be seen on a dumpster in the film’s credits.
• Banksy, who deals mostly with Lazarides Gallery in London, claims that the exhibition at Vanina Holasek Gallery in New York (his first major exhibition in that city) is unauthorised. The exhibition featured 62 of his paintings and prints.[38]

2008

• In March, a stencilled graffiti work appeared on Thames Water tower in the middle of the Holland Park roundabout, and it was widely attributed to Banksy. It was of a child painting the tag "Take this Society" in bright orange. London Borough of Hammersmith and Fulham spokesman, Councillor Greg Smith branded the art as vandalism, and ordered its immediate removal, which was carried out by H&F council workmen within three days.[39]
• Over the weekend 3–5 May in London, Banksy hosted an exhibition called The Cans Festival. It was situated on Leake Street, a road tunnel formerly used by Eurostar underneath London Waterloo station. Graffiti artists with stencils were invited to join in and paint their own artwork, as long as it didn’t cover anyone else’s.[40] Artists included Blek le Rat, Broken Crow, C215, Cartrain, Dolk, Dotmasters, J.Glover, Eine, Eelus, Hero, Pure evil, Jef Aérosol, Mr Brainwash, Tom Civil and Roadsworth.[citation needed]
• In late August 2008, marking the third anniversary of Hurricane Katrina and the associated levee failure disaster, Banksy produced a series of works in New Orleans, Louisiana, mostly on buildings derelict since the disaster.[41]
• A stencil painting attributed to Banksy appeared at a vacant petrol station in the Ensley neighbourhood of Birmingham, Alabama on 29 August as Hurricane Gustav approached the New Orleans area. The painting depicting a hooded member of the Ku Klux Klan hanging from a noose was quickly covered with black spray paint and later removed altogether.[42]
• His first official exhibition in New York, the "Village Pet Store And Charcoal Grill," opened 5 October 2008. The animatronic pets in the store window include a mother hen watching over her baby Chicken McNuggets as they peck at a barbecue sauce packet, and a rabbit putting makeup on in a mirror.[43]
• The Westminster City Council stated in October 2008 that the work "One Nation Under CCTV", painted in April 2008 will be painted over as it is graffiti. The council says it will remove any graffiti, regardless of the reputation of its creator, and specifically stated that Banksy "has no more right to paint graffiti than a child". Robert Davis, the chairman of the council planning committee told The Times newspaper: "If we condone this then we might as well say that any kid with a spray can is producing art". [44] The work was painted over in April 2009.
• In December 2008, The Little Diver, a Banksy image of a diver in a duffle coat in Melbourne Australia was vandalised. The image was protected by a sheet of clear perspex, however silver paint was poured behind the protective sheet and later tagged with the words "Banksy woz ere". The image was almost completely destroyed.[45].

2009

• May 2009, parts company with agent Steve Lazarides. Announces Pest Control [46] the handling service who act on his behalf will be the only point of sale for new works.
• On 13 June 2009, the Banksy UK Summer show opened at Bristol City Museum and Art Gallery, featuring more than 100 works of art, including animatronics and installations; it is his largest exhibition yet, featuring 78 new works.[47][48] Reaction to the show was positive, with over 8,500 visitors to the show on the first weekend.[49] Over the course of the twelve weeks, the exhibition has been visited over 300,000 times.[50]
• In September 2009, a Banksy work parodying the Royal Family was partially destroyed by Hackney Council after they served an enforcement notice for graffiti removal to the former address of the property owner. The mural had been commissioned for the 2003 Blur single "Crazy Beat" and the property owner, who had allowed the piece to be painted, was reported to have been in tears when she saw it was being painted over.[51]
• In December 2009, Banksy marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included "I don’t believe in global warming" which was submerged in water.[52]

2010

• The world premiere of the film Exit Through the Gift Shop occurred at the Sundance Film Festival in Park City, Utah, on 24 January. He created 10 street pieces around Park City and Salt Lake City to tie in with the screening.[53]
• In February, The Whitehouse public house in Liverpool, England, is sold for £114,000 at auction.[54] The side of the building has an image of a giant rat by Banksy.[55]
• In April 2010, Melbourne City Council in Australia reported that they had inadvertently ordered private contractors to paint over the last remaining Banksy art in the city. The image was of a rat descending in a parachute adorning the wall of an old council building behind the Forum Theatre. In 2008 Vandals had poured paint over a stencil of an old-fashioned diver wearing a trenchcoat. A council spokeswoman has said they would now rush through retrospective permits to protect other “famous or significant artworks” in the city.[56]
• In April 2010 to coincide with the premier of Exit through the Gift Shop in San Francisco, 5 of his pieces appeared in various parts of the city.[57] Banksy reportedly paid a Chinatown building owner for the use of their wall for one of his stencils.[58]
• In May 2010 to coincide with the release of "Exit Through the Gift Shop" in Chicago, one piece appeared in the city.

Notable art pieces

In addition to his artwork, Banksy has claimed responsibility for a number of high profile art pieces, including the following:

• At London Zoo, he climbed into the penguin enclosure and painted "We’re bored of fish" in seven foot high letters.[59]
• At Bristol Zoo, he left the message ‘I want out. This place is too cold. Keeper smells. Boring, boring, boring.’ in the elephant enclosure.[60]
• In March 2005, he placed subverted artworks in the Museum of Modern Art, Metropolitan Museum of Art, the Brooklyn Museum, and the American Museum of Natural History in New York.[61]
• He put up a subverted painting in London’s Tate Britain gallery.
• In May 2005 Banksy’s version of a primitive cave painting depicting a human figure hunting wildlife whilst pushing a shopping trolley was hung in gallery 49 of the British Museum, London. Upon discovery, they added it to their permanent collection.[62]

Near Bethlehem – 2005

• Banksy has sprayed "This is not a photo opportunity" on certain photograph spots.
• In August 2005, Banksy painted nine images on the Israeli West Bank barrier, including an image of a ladder going up and over the wall and an image of children digging a hole through the wall.[22][63][64][65]

See also: Other Banksy works on the Israeli West Bank barrier

• In April 2006, Banksy created a sculpture based on a crumpled red phone box with a pickaxe in its side, apparently bleeding, and placed it in a street in Soho, London. It was later removed by Westminster Council. BT released a press release, which said: "This is a stunning visual comment on BT’s transformation from an old-fashioned telecommunications company into a modern communications services provider."[66]
• In June 2006, Banksy created an image of a naked man hanging out of a bedroom window on a wall visible from Park Street in central Bristol. The image sparked some controversy, with the Bristol City Council leaving it up to the public to decide whether it should stay or go.[67] After an internet discussion in which 97% (all but 6 people) supported the stencil, the city council decided it would be left on the building.[67] The mural was later defaced with paint.[67]
• In August/September 2006, Banksy replaced up to 500 copies of Paris Hilton‘s debut CD, Paris, in 48 different UK record stores with his own cover art and remixes by Danger Mouse. Music tracks were given titles such as "Why am I Famous?", "What Have I Done?" and "What Am I For?". Several copies of the CD were purchased by the public before stores were able to remove them, some going on to be sold for as much as £750 on online auction websites such as eBay. The cover art depicted Paris Hilton digitally altered to appear topless. Other pictures feature her with a dog’s head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, which included the caption "90% of success is just showing up".[68][69][70]
• In September 2006, Banksy dressed an inflatable doll in the manner of a Guantanamo Bay detainment camp prisoner (orange jumpsuit, black hood, and handcuffs) and then placed the figure within the Big Thunder Mountain Railroad ride at the Disneyland theme park in Anaheim, California.[71][72]

Technique

Asked about his technique, Banksy said:

“I use whatever it takes. Sometimes that just means drawing a moustache on a girl’s face on some billboard, sometimes that means sweating for days over an intricate drawing. Efficiency is the key.[73]”

Stencils are traditionally hand drawn or printed onto sheets of acetate or card, before being cut out by hand. Because of the secretive nature of Banksy’s work and identity, it is uncertain what techniques he uses to generate the images in his stencils, though it is assumed he uses computers for some images due to the photocopy nature of much of his work.

He mentions in his book, Wall and Piece, that as he was starting to do graffiti, he was always too slow and was either caught or could never finish the art in the one sitting. So he devised a series of intricate stencils to minimise time and overlapping of the colour.

Identity

Banksy’s real name has been widely reported to be Robert or Robin Banks.[74][75][76] His year of birth has been given as 1974.[62]

Simon Hattenstone from Guardian Unlimited is one of the very few people to have interviewed him face-to-face. Hattenstone describes him as "a cross of Jimmy Nail and British rapper Mike Skinner" and "a 28 year old male who showed up wearing jeans and a t-shirt with a silver tooth, silver chain, and one silver earring".[77] In the same interview, Banksy revealed that his parents think their son is a painter and decorator.[77]

In May 2007, an extensive article written by Lauren Collins of the New Yorker re-opened the Banksy-identity controversy citing a 2004 photograph of the artist that was taken in Jamaica during the Two-Culture Clash project and later published in the Evening Standard in 2004.[6]

In October 2007, a story on the BBC website featured a photo allegedly taken by a passer-by in Bethnal Green, London, purporting to show Banksy at work with an assistant, scaffolding and a truck. The story confirms that Tower Hamlets Council in London has decided to treat all Banksy works as vandalism and remove them.[78]

In July 2008, it was claimed by The Mail on Sunday that Banksy’s real name is Robin Gunningham.[3][79] His agent has refused to confirm or deny these reports.

In May 2009, the Mail on Sunday once again speculated about Gunningham being Banksy after a "self-portrait" of a rat holding a sign with the word "Gunningham" shot on it was photographed in East London.[80] This "new Banksy rat" story was also picked up by The Times[81] and the Evening Standard.

Banksy, himself, states on his website:

“I am unable to comment on who may or may not be Banksy, but anyone described as being ‘good at drawing’ doesn’t sound like Banksy to me.[82]”

Controversy

In 2004, Banksy walked into the Louvre in Paris and hung on a wall a picture he had painted resembling the Mona Lisa but with a yellow smiley face. Though the painting was hurriedly removed by the museum staff, it and its counterpart, temporarily on unknown display at the Tate Britain, were described by Banksy as "shortcuts". He is quoted as saying:

“To actually [have to] go through the process of having a painting selected must be quite boring. It’s a lot more fun to go and put your own one up.[83]”

Peter Gibson, a spokesperson for Keep Britain Tidy, asserts that Banksy’s work is simple vandalism,[84] and Diane Shakespeare, an official for the same organization, was quoted as saying: "We are concerned that Banksy’s street art glorifies what is essentially vandalism".[6]

In June 2007 Banksy created a circle of plastic portable toilets, said to resemble Stonehenge at the Glastonbury Festival. As this was in the same field as the "sacred circle" it was felt by many to be inappropriate and his installation was itself vandalized before the festival even opened. However, the intention had always been for people to climb on and interact with it.[citation needed] The installation was nicknamed "Portaloo Sunset" and "Bog Henge" by Festival goers. Michael Eavis admitted he wasn’t fond of it, and the portaloos were removed before the 2008 festival.

In 2010, an artistic feud developed between Banksy and his rival King Robbo after Banksy painted over a 24-year old Robbo piece on the banks of London’s Regent Canal. In retaliation several Banksy pieces in London have been painted over by ‘Team Robbo’.[85][86]

Also in 2010, government workers accidentally painted over a Banksy art piece, a famed "parachuting-rat" stencil, in Australia’s Melbourne CBD. [87]

Bibliography

Banksy has self-published several books that contain photographs of his work in various countries as well as some of his canvas work and exhibitions, accompanied by his own writings:

• Banksy, Banging Your Head Against A Brick Wall (2001) ISBN 978-0-95417040-0
• Banksy, Existencilism (2002) ISBN 978-0-95417041-7
• Banksy, Cut it Out (2004) ISBN 978-0-95449600-5
• Banksy, Wall and Piece (2005) ISBN 978-1-84413786-2
• Banksy, Pictures of Walls (2005) ISBN 978-0-95519460-3

Random House published Wall and Piece in 2005. It contains a combination of images from his three previous books, as well as some new material.[16]

Two books authored by others on his work were published in 2006 & 2007:

• Martin Bull, Banksy Locations and Tours: A Collection of Graffiti Locations and Photographs in London (2006 – with new editions in 2007 and 2008) ISBN 978-0-95547120-9.
• Steve Wright, Banksy’s Bristol: Home Sweet Home (2007) ISBN 978-1906477004

External links

• Official website
• Banksy street work photos

No-money-system-pro
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Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Cooling Off on Down Time


Image by familymwr
Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Cooling Off on Down Time

Photo By: SSG Jessica Torralva

To learn more about the annual U.S. Army Photography Competition, visit us online at www.armymwr.com

U.S. Army Arts and Crafts History

After World War I the reductions to the Army left the United States with a small force. The War Department faced monumental challenges in preparing for World War II. One of those challenges was soldier morale. Recreational activities for off duty time would be important. The arts and crafts program informally evolved to augment the needs of the War Department.
On January 9, 1941, the Secretary of War, Henry L. Stimson, appointed Frederick H. Osborn, a prominent U.S. businessman and philanthropist, Chairman of the War Department Committee on Education, Recreation and Community Service.
In 1940 and 1941, the United States involvement in World War II was more of sympathy and anticipation than of action. However, many different types of institutions were looking for ways to help the war effort. The Museum of Modern Art in New York was one of these institutions. In April, 1941, the Museum announced a poster competition, “Posters for National Defense.” The directors stated “The Museum feels that in a time of national emergency the artists of a country are as important an asset as men skilled in other fields, and that the nation’s first-rate talent should be utilized by the government for its official design work… Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm…”
In May 1941, the Museum exhibited “Britain at War”, a show selected by Sir Kenneth Clark, director of the National Gallery in London. The “Prize-Winning Defense Posters” were exhibited in July through September concurrently with “Britain at War.” The enormous overnight growth of the military force meant mobilization type construction at every camp. Construction was fast; facilities were not fancy; rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, while on strenuous war games maneuvers in Tennessee, documented the exercise The Bulletin of the Museum of Modern Art, Vol. 9, No. 3 (Feb. 1942), described their work. “Results were astonishingly good; they showed serious devotion …to the purpose of depicting the Army scene with unvarnished realism and a remarkable ability to capture this scene from the soldier’s viewpoint. Civilian amateur and professional artists had been transformed into soldier-artists. Reality and straightforward documentation had supplanted (replaced) the old romantic glorification and false dramatization of war and the slick suavity (charm) of commercial drawing.”

“In August of last year, Fort Custer Army Illustrators held an exhibition, the first of its kind in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, many of whom had never been inside an art gallery, enjoyed it thoroughly. Civilian visitors, too, came and admired. The work of the group showed them a new aspect of the Army; there were many phases of Army life they had never seen or heard of before. Newspapers made much of it and, most important, the Army approved. Army officials saw that it was not only authentic material, but that here was a source of enlivenment (vitalization) to the Army and a vivid medium for conveying the Army’s purposes and processes to civilians and soldiers.”
Brigadier General Frederick H. Osborn and War Department leaders were concerned because few soldiers were using the off duty recreation areas that were available. Army commanders recognized that efficiency is directly correlated with morale, and that morale is largely determined from the manner in which an individual spends his own free time. Army morale enhancement through positive off duty recreation programs is critical in combat staging areas.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A program utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and other places of general assembly was established by the Facilities Section of Special Services. The purpose was to provide an environment that would reflect the military tradition, accomplishments and the high standard of army life. The fact that this work was to be done by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The plan was first tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists were placed on special duty to design and decorate the facilities. Additionally, evening recreation art classes were scheduled three times a week. A second test was established at Fort Belvoir, Virginia a month later. The success of these programs lead to more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Modern Art appointed Mr. James Soby, to the position of Director of the Armed Service Program on January 15, 1942. The subsequent program became a combination of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum program included; a display of Fort Custer Army Illustrators work from February through April 5, 1942. The museum also included the work of soldier-photographers in this exhibit. On May 6, 1942, Mr. Soby opened an art sale of works donated by museum members. The sale was to raise funds for the Soldier Art Program of Special Services Division. The bulk of these proceeds were to be used to provide facilities and materials for soldier artists in Army camps throughout the country.
Members of the Museum had responded with paintings, sculptures, watercolors, gouaches, drawings, etchings and lithographs. Hundreds of works were received, including oils by Winslow Homer, Orozco, John Kane, Speicher, Eilshemius, de Chirico; watercolors by Burchfield and Dufy; drawings by Augustus John, Forain and Berman, and prints by Cezanne, Lautrec, Matisse and Bellows. The War Department plan using soldier-artists to decorate and improve buildings and grounds worked. Many artists who had been drafted into the Army volunteered to paint murals in waiting rooms and clubs, to decorate dayrooms, and to landscape grounds. For each artist at work there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, sculpture and photography were offered. Larger working space and more instructors were required to meet the growing demand. Civilian art instructors and local communities helped to meet this cultural need, by providing volunteer instruction and facilities.
Some proceeds from the Modern Museum of Art sale were used to print 25,000 booklets called “Interior Design and Soldier Art.” The booklet showed examples of soldier-artist murals that decorated places of general assembly. It was a guide to organizing, planning and executing the soldier-artist program. The balance of the art sale proceeds were used to purchase the initial arts and crafts furnishings for 350 Army installations in the USA.
In November, 1942, General Somervell directed that a group of artists be selected and dispatched to active theaters to paint war scenes with the stipulation that soldier artists would not paint in lieu of military duties.
Aileen Osborn Webb, sister of Brigadier General Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army program.
While soldiers were participating in fixed facilities in the USA, many troops were being shipped overseas to Europe and the Pacific (1942-1945). They had long periods of idleness and waiting in staging areas. At that time the wounded were lying in hospitals, both on land and in ships at sea. The War Department and Red Cross responded by purchasing kits of arts and crafts tools and supplies to distribute to “these restless personnel.” A variety of small “Handicraft Kits” were distributed free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the types of kits sent.
In January, 1944, the Interior Design Soldier Artist program was more appropriately named the “Arts and Crafts Section” of Special Services. The mission was “to fulfill the natural human desire to create, provide opportunities for self-expression, serve old skills and develop new ones, and assist the entire recreation program through construction work, publicity, and decoration.”
The National Army Art Contest was planned for the late fall of 1944. In June of 1945, the National Gallery of Art in Washington D.C., for the first time in its history opened its facilities for the exhibition of the soldier art and photography submitted to this contest. The “Infantry Journal, Inc.” printed a small paperback booklet containing 215 photographs of pictures exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern Art, Armed Forces Program, organized an art center for veterans. Abby Rockefeller, in particular, had a strong interest in this project. Soldiers were invited to sketch, paint, or model under the guidance of skilled artists and craftsmen. Victor d’Amico, who was in charge of the Museum’s Education Department, was quoted in Russell Lynes book, Good Old Modern: An Intimate Portrait of the Museum of Modern Art. “I asked one fellow why he had taken up art and he said, Well, I just came back from destroying everything. I made up my mind that if I ever got out of the Army and out of the war I was never going to destroy another thing in my life, and I decided that art was the thing that I would do.” Another man said to d’Amico, “Art is like a good night’s sleep. You come away refreshed and at peace.”
In late October, 1944, an Arts and Crafts Branch of Special Services Division, Headquarters, European Theater of Operations was established. A versatile program of handcrafts flourished among the Army occupation troops.
The increased interest in crafts, rather than fine arts, at this time lead to a new name for the program: The “Handicrafts Branch.”
In 1945, the War Department published a new manual, “Soldier Handicrafts”, to help implement this new emphasis. The manual contained instructions for setting up crafts facilities, selecting as well as improvising tools and equipment, and basic information on a variety of arts and crafts.
As the Army moved from a combat to a peacetime role, the majority of crafts shops in the United States were equipped with woodworking power machinery for construction of furnishings and objects for personal living. Based on this new trend, in 1946 the program was again renamed, this time as “Manual Arts.”
At the same time, overseas programs were now employing local artists and craftsmen to operate the crafts facilities and instruct in a variety of arts and crafts. These highly skilled, indigenous instructors helped to stimulate the soldiers’ interest in the respective native cultures and artifacts. Thousands of troops overseas were encouraged to record their experiences on film. These photographs provided an invaluable means of communication between troops and their families back home.
When the war ended, the Navy had a firm of architects and draftsmen on contract to design ships. Since there was no longer a need for more ships, they were given a new assignment: To develop a series of instructional guides for arts and crafts. These were called “Hobby Manuals.” The Army was impressed with the quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced throughout the Army were so varied and diverse that the program was renamed “Hobby Shops.” The first “Interservice Photography Contest” was held in 1948. Each service is eligible to send two years of their winning entries forward for the bi-annual interservice contest. In 1949, the first All Army Crafts Contest was also held. Once again, it was clear that the program title, “Hobby Shops” was misleading and overlapped into other forms of recreation.
In January, 1951, the program was designated as “The Army Crafts Program.” The program was recognized as an essential Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, professional leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be conducted in well-equipped, attractive facilities on all Army installations.
The program was now defined in terms of a “Basic Seven Program” which included: drawing and painting; ceramics and sculpture; metal work; leathercrafts; model building; photography and woodworking. These programs were to be conducted regularly in facilities known as the “multiple-type crafts shop.” For functional reasons, these facilities were divided into three separate technical areas for woodworking, photography and the arts and crafts.
During the Korean Conflict, the Army Crafts program utilized the personnel and shops in Japan to train soldiers to instruct crafts in Korea.
The mid-1950s saw more soldiers with cars and the need to repair their vehicles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts were established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the first All Army Art Contest was held. Once more, the Army Crafts Program responded to the needs of soldiers.
In the 1960’s, the war in Vietnam was a new challenge for the Army Crafts Program. The program had three levels of support; fixed facilities, mobile trailers designed as portable photo labs, and once again a “Kit Program.” The kit program originated at Headquarters, Department of Army, and it proved to be very popular with soldiers.
Tom Turner, today a well-known studio potter, was a soldier at Ft. Jackson, South Carolina in the 1960s. In the December 1990 / January 1991 “American Crafts” magazine, Turner, who had been a graduate student in art school when he was drafted, said the program was “a godsend.”
The Army Artist Program was re-initiated in cooperation with the Office of Military History to document the war in Vietnam. Soldier-artists were identified and teams were formed to draw and paint the events of this combat. Exhibitions of these soldier-artist works were produced and toured throughout the USA.
In 1970, the original name of the program, “Arts and Crafts”, was restored. In 1971, the “Arts and Crafts/Skills Development Program” was established for budget presentations and construction projects.
After the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an environment of funding constraints the arts and crafts program began charging fees for classes. More part-time personnel were used to teach formal classes. Additionally, a need for more technical-vocational skills training for military personnel was met by close coordination with Army Education Programs. Army arts and crafts directors worked with soldiers during “Project Transition” to develop soldier skills for new careers in the public sector.
The main challenge in the 1980s and 90s was, and is, to become “self-sustaining.” Directors have been forced to find more ways to generate increased revenue to help defray the loss of appropriated funds and to cover the non-appropriated funds expenses of the program. Programs have added and increased emphasis on services such as, picture framing, gallery sales, engraving and trophy sales, etc… New programs such as multi-media computer graphics appeal to customers of the 1990’s.
The Gulf War presented the Army with some familiar challenges such as personnel off duty time in staging areas. Department of Army volunteer civilian recreation specialists were sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies were sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs were set up to meet soldier interests.
The increased operations tempo of the ‘90’s Army has once again placed emphasis on meeting the “recreation needs of deployed soldiers.” Arts and crafts activities and a variety of programs are assets commanders must have to meet the deployment challenges of these very different scenarios.
The Army arts and crafts program, no matter what it has been titled, has made some unique contributions for the military and our society in general. Army arts and crafts does not fit the narrow definition of drawing and painting or making ceramics, but the much larger sense of arts and crafts. It is painting and drawing. It also encompasses:
* all forms of design. (fabric, clothes, household appliances, dishes, vases, houses, automobiles, landscapes, computers, copy machines, desks, industrial machines, weapon systems, air crafts, roads, etc…)
* applied technology (photography, graphics, woodworking, sculpture, metal smithing, weaving and textiles, sewing, advertising, enameling, stained glass, pottery, charts, graphs, visual aides and even formats for correspondence…)
* a way of making learning fun, practical and meaningful (through the process of designing and making an object the creator must decide which materials and techniques to use, thereby engaging in creative problem solving and discovery) skills taught have military applications.
* a way to acquire quality items and save money by doing-it-yourself (making furniture, gifts, repairing things …).
* a way to pursue college credit, through on post classes.
* a universal and non-verbal language (a picture is worth a thousand words).
* food for the human psyche, an element of morale that allows for individual expression (freedom).
* the celebration of human spirit and excellence (our highest form of public recognition is through a dedicated monument).
* physical and mental therapy (motor skill development, stress reduction, etc…).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the world be like today if this generally unknown program had not existed? To quantitatively state the overall impact of this program on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts because this program existed. One activity, photography can provide a clue to its impact. Soldiers encouraged to take pictures, beginning with WW II, have shared those images with family and friends. Classes in “How to Use a Camera” to “How to Develop Film and Print Pictures” were instrumental in soldiers seeing the results of using quality equipment. A good camera and lens could make a big difference in the quality of the print. They bought the top of the line equipment. When they were discharged from the Army or home on leave this new equipment was showed to the family and friends. Without this encouragement and exposure to photography many would not have recorded their personal experiences or known the difference quality equipment could make. Families and friends would not have had the opportunity to “see” the environment their soldier was living in without these photos. Germany, Italy, Korea, Japan, Panama, etc… were far away places that most had not visited.
As the twenty first century approaches, the predictions for an arts renaissance by Megatrends 2000 seem realistic based on the Army Arts and Crafts Program practical experience. In the April ‘95 issue of “American Demographics” magazine, an article titled “Generation X” fully supports that this is indeed the case today. Television and computers have greatly contributed to “Generation X” being more interested in the visual arts and crafts.

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Alvin and Nancy Roselin: “Make It Happen”


Image by Ed Yourdon
Summer’s end in NYC, Sep 2009 – 23

With thanks to my Flickr friend kamihacker, who always spots tiny details like this: on the top rail of the park bench, just above the sleeping man’s belt, is a small engraved plate. Just about every bench in this part of Central Park (as well as the Great Lawn area, much further to the north and west) has such a plate — identifying the individual or the family that donated the money to the (non-profit) Central Park Conservancy to purchase a new bench when the whole park was being renovated and modernized.

In many cases, the inscription on the plate is a memorial for a friend, family member, or loved one, with an indication of that person’s birth and death year. In this case, I first thought that the inscription was in honor of someone named Nancy Roselin Alvin (based on the text in the top line of the plate), and that one of her favorite sayings (as indicated by the phrase at the bottom of the plate) was "Make it happen." But then I did a little Google research and found this 1993 wedding notice indicating that the son of Alvin and Nancy Roselin had just gotten married…

To see an even more amazing example of this, take a look at the Bill Gottshalk Memorial Bench, which I photographed while walking back through Central Park on my return from a doctor’s appointment, in June 2008.

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Note: this photo was published in an Oct 29, 2010 blog titled "Q&A: if you dont have a web site or anything to sell can you still make money with google, or paypall?" It was also published in a Nov 21, 2010 ProfitQuickies4Newbies blog, with the same title and detailed notes as what I had written on this Flickr page. And it was published in a Nov 26, 2010 blog titled "Casual Wedding Ideas." It was also published in a Dec 30, 2010 Profit Quickies 4 Newbies blog, with the same title and detailed notes that I had written on this Flickr page.

Moving into 2011, the photo was published in a Jan 10, 2011 blog titled "How To Make Money Online And Earn Money Online From Home." It was also published in a Feb 24, 2011 blog titled "Nice Pics Earn Money Online," and a Mar 2, 2011 "Nice Make Money Writing From Home photos blog. And it was published in a Mar 23, 2011 blog titled "Cute Wedding Invitation Sayings." It was also published in an Apr 2, 2011 Funny Black Jokes One Line Funny Jokes blog, with the same caption and detailed notes that I had written on this Flickr page. And it was published in an Aug 11, 2011 blog titled "Quotes for a Wedding Invitation?" It was also published in an Aug 28, 2011 blog titled "Q&A: How to earn money online in the Philippines?" And it was published in a Nov 29, 2011 blog titled "S’more favor sayings."

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Labor Day weekend has traditionally marked the end of the summer season throughout the United States, even though the summer solstice doesn’t come to an end for another couple of weeks. Vacations are over, school is starting, and we all know that the long, hot days of summer are gone for yet another year (and as a Sep 6, 2009 New York Times editorial titled "This Seasonal Parade" points out, we’re now halfway through the hurricane season)…

For the last few years, I’ve acknowledged Labor Day by walking through Central Park here in New York City, to see how everyone else is enjoying or lamenting this end-of-season weekend. After a while, you have a general idea of what you’re likely to see, as long as the weather cooperates: lots of sunbathing, lots of frisbee, lots of picnics, lots of kids running around the meadows and lawns as if the warm weather might last forever. Many of these scenes I’ve photographed multiple times, and I had no particular interest in repeating what I’ve already done before (here, for example is the Flickr set of photos from my 2008 stroll). So I didn’t take any photos of the runners along the Central Park reservoir, didn’t bother with most of the people on bicycles, and didn’t pay much attention to the bikini-clad beauties out on the grass…

But there are always some unique sights, and I did my best to capture them in this set of photos. What struck me most this year was the music that I saw (and heard) almost everywhere: jazz trios, solitary musicians, an absolutely wonderful folk-music trio called The Dirty Urchins (check them out on Twitter, MySpace, and the Web), a violin trio of teenaged Chinese girls, a solitary violinist playing Puccini opera pieces, and several others that I’ve probably forgotten. Oh, yeah, and there were also the mimes: the gold man, the spring faerie, and so many others.

All in all, Central Park is one of the most magical places in the world. If you haven’t been here, you have no idea what you’re missing. Of course you should come here to the Center of the Universe to see the Empire State Building, the Staten Island Ferry, the Statue of Liberty, and Ground Zero. But you need to set aside at least a whole day to see Central Park. I hope this set of Flickr photos will give you a brief glimpse of why it matters so much…

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