Embed Size (px)
Citation preview
,"lOlllTIC"L "!STOllIC"'" rlllsrlCTI\'l
New Visions, New Viewers, NewVehicles: Twentieth-CenturyDevelopments in North Americanpolitical Art
".... \.,.., _ ,nl...- ~ ..iol'_..,.l~,~,.._....001 ...........' l·...._~t......, 1..-.I~ ICr.l:;.1"_~ ...
1too< ~I .......... r,.,.;\.
"'ST."CT
The amor nen lilt MlI:W)'
01 oolIDaIIan " lilt I'\IIItfItletn ten1I.I'Y.toQI....."~onmap_ ditwtoemelltl " JI'tIStJC
CQ'lIInt. term IOd lI.OtIlCe. HedtscrUs hoW corurnoor.-y cxM>til nm 11M broItI't lPDh:Ie(I
lrdllonll Ewwunl!leme5 " _II soclII c(ll'lWl'ltl'lll.~"Illt~ 01 rlCtS/II. -.sm.~ "'Irldl\lon IOdKOIlCIIT'It 1rIfQIIIIIly. lit tIso
d1SCU5MS I'lOW""'.~lX*ticaIlr1lSlS II Nor'II MIIneaIIIw used llIdc KllCn 1Od_IIdI....SIO~...ITlftSIIIU. aIIICIIIr irlllU1ll.lIOSlIt tnIll'llllllDoll b-ms.WrTOts 01......., e:IlXrrC ..l7Itst CIotwdWiiEiU n~"'--"~1JIt_.
toricallr<ildition of dWenl in lite,.,..lUre, journalism. public i1ddress.6lm, music and scholanhip.
Socially conKioul anin~ of thi!century ha\"C expanded the tf1iIdi.tiona! content of a long historicaltradition or \isual social enpge-ment tllal ~es back 10 rutttl'l~
and sixtccnlh-centu~·pilintcrsBosch ;lnd Brucghel and eiR"hleenth· and nineleenth-cenlU~'
painteTS Hogarth and~"11besenew artisu hal'e added themesthat correspond tel lhe political. 50Cial and «unnmic rnlitin;or the modem C'r:l. :"ut sllrpriRnf(~·.for nample. lInli\\"al" anhu pl:.l~"Cd II prominent mlc sincc World War I. Tht· U-.u'b.mOl-cmCnt folk"'';rlJ\' Ihat cemmet l'p:t""llro :111 cnlin' Jtl.'IIC'r.l·lion of anli-e!tabliJihmenl anisu. WhUM' ,,'orb C"hllll\'IlJtmthe enlire politicd. !lUCial and cultllr,tl ~lnlCIIII'T uf mudemlOCicC!", Tht' brillianl paintinKs :Illd printS Hf «mmn :mi5tJIGC:UIll:C GTOlil. OtUI Oi!\:. KoIl"iO'. alld uthene dll't:Ii1L-d th", hllrroTS of tht' " ....1' iuelf. lhl: fiTSt Indy 1liltll-tL"(h- war in l\lunanhiuu~·. KIIIl\\"ill.. in paniclliar. prndllC1..-d I{l"lIphic \\"1I1k... thaiha\'c rr5111l:111:d ";th 1:Iq::c :I\ldienn'~ ;md influC'nced SIlbsC'
qu",nt J::eller.lIH1Il5 of ~lCi:llI~' oriC'llted lIni!IU. Her TCnlJ\\T1C'<!pu51t'r. Xt1'l"r .'i./.'I1ill lIi1r. Iilr ",xamplc:. has hccn TCpcatc:dlylIdapled III nltK"C r«eOl lllilit:H~' ronmcts. and h:as appean:d inmodt:rn postcn pmtl:SlinJ:: the United Stall'll' inl1Wl-cmc:t\1 inHctnam. EI s..:"'ltdnr. Xica~ and the Persi:ln Gill(,
Many nther m:l:jut" art\\urks in the l:",tr~' Iwt-nlicth cenlll~'
:.Iugrnenu:d the' lInti-\\'ar theme. 1bne c:an be tr.JCcd back IUother \'15u..15l>lln::e5 thlll incloot- G()~'a's unpar<ilileled I{nphicIoerill'$ 1);J4JI1'D uf '\-i11. which chronicled the hOrTon (If theSpanish J(\1C'TTi11:t "'~lr 1IJt;&i1Ut French lIccupic:n fnJPl 180tl 10181-4. P:ablo PiC:l~"n's ...ide~' acclajmed ffiiI5lcrpi«c C;w.m;ca.painled in an~' rnpcllUC to f.uci5t $iltur<ilUc.IO bombinR: in hisnllth~ Spain. cumbint"d immcnK' ~ii5tic inml'l'ation and ~-n
thcsi... "'ith inletlJe: mor<ill outrage. Roben Capa's incump:ar.t-
ANTIWAR ART
Paul ton Blum
"\!.:'l. 'K;,I 'nd polhk.1 ,omm,n,,~· ,on,,;mu~ a pu",'cJfullrMthioll of anistic e:c:pression in the Western\\1,r1c1. ~h)$1 an hi~torians,critics and memben of the ednCilI·\'(1 public, hOWC\'CJ, j;u:k exteran-e knOl.:ledge about the semi!lOll {kn·lupmcnI.,< in politiCilI an throughom the twentieth(t'nIU"', Cnlil f:l.irly Jccen~', an ideol~'of -modem-an h:udumi~;lIcd .-'merinn ;lnd Western European cultunll life,.-\m~urk! fucusinl{ on critkal liC"'S of politics and JOCk~' Ila\-e~"piQlll~' bc-en m:l.r¢rWi1.ed, routine~' dismd.soed iIS qu.a..int. hi$
luric;dry' uutmuded or JnW!~. topical. Socially conscious artisu,,-ho usc Iheir tillmts 10 call atlC'nUon to such injusticn iIS "w,pu'-c~', r.lCWn. SotXism, alienation. penecution. political COl"'roptiun. mlironmental degr.w:lation and SCOI'1:S uf other tociaIdd"Kts ha\-e Kcner.aUy,,'Ori:ed "ithoul the SlaWS and I"C'C'Oft'1i
lion ",ccorded to theil" contempof1ilrin ",ho nche'" poIitiaJwnlCnt and COntI"OI:~~'in theiT ,,"Orb.
Reccnt dC\"Clopmcnu in posanodem, femini$t and multicu~
tur.al theory and criticism Ila\-e combined "ith actilism fromlhe 1960s up to the present to genenlle somewhat I{reatel"interest in lind recognition of political an in the 19t«A andl~ Respected scholan and "Tilen appt:"<ilrillg in nt:\\· publiC"<iltHm5 ~mpathetic to prugressi\'C cultural e:c:preuions. such asf:'''''/lfu,rit,r .\lu1"11 (no lonl{er publishing), Hiflt " ..r(onnnnff'.Hrmi'l, Cullumf J)nrrnml1'J and l .\Ia~"" hll"l"C ;KkIed lU IheI.""l\.in~ replll:lUtlll uf cemlempor",ry lInilt5 "ieh \i~tlnl criticalof dominotnt social lind political priorities lind in~tiltllions. Inlhl: linill declide of Ihis ccmu~·. pllJilk.il :In hilS e~L;lblishc:d aM)licl if precarioul legitim~' in the a~ world. The cunmlalil-cerrOTU of politicllll~' commine<! ",I'tins shed I:nOnl\m!J if diJlownccl'tinR" lil{ht on the pree:ariowneu of e:dstencll' in a tcchn"!uKic-,t1 world bnct lIith Ol'Crwhelming socill,l, ecllllUlnic ilndenlironmenud problems.
A ~yttll'matic rl:"\;ew of del'clopmenu in IhC' \'i5Ulll aruthroughout the l\'!l"Cmieth centu~' comincingly rC\'t':als hOll'political lIrt h:as constituted a major 5train of CTCillil"C expre.:lion. culting aCT055 the ~iistic ckI"CkJpmenu that still occupythe attention of con\"Cfltional an scho1an and "Tiltn. Injpircd~. their predeccsson of many pr"CIi0u5 centul'ics. ~lCiaI~' ron1Ci0U5 artisu of this century. including such Iliminarie5 iI5"
l\ithl: I\ollwitz. Ben Shahn, Diego RiI'Cra. Ed"lIrd Nenhol7_Leon Golub. Hans H:aac:kc and Barbara N-ul{er. hal't' fundamentally bro<tdened and deepened the scope of lisual socialcommentary. 8~' embr<ilcing nC'" polilkal \ision.. ~. :mr«ungT)C'\\'. noo<lile liC\\"CT1 and by initiating nt:l'" l"Chicies of'isualexprcssion, thousands of anisu ha\"C creatcd an impre5lii\"C~~. of political engagement thai complcmcnu thc 10nR: hit-
'0 19!1J ISAST U:Ol\:AJUX). \'..I.:tti, ~,.. 3. pp.~~M, 1m 459
LIPS
WITH
hllildillj.:S 111l'nll~h"lIl :'\!t·!\:iro. III:'\!t'xir" (:il\". (;,t;,tl:,I;!i:lf:I. (:'t\'Tllal~lt';1
:md dst·wlwn'. l11<mllllll'lIl:11 p"lilic,ll ;11'1ht'C,llllt· alOlilalll.. II' milli'''I'' ,,\ "retin:l"'!,eupl.-. wh" ("uIIMn"... t·,ti<~· Ilw ..tli.ns:Illrl rdkn nil llwir rIl.~""!:~"S in II1\" 1"'1tin,· l'UUf'!Il' nf Ihdr cl:.1i"· li"",- :'\)l".\:icJllpuhlk ~In limd:lml'111:.l1l" ahL"IT'd Iht'" dili"t ("ha~\("It'r uf \;,,11:11 rre:lliun. Thi"pruli,ul1t1 dl,\'d"PlIWIlI l'Slahli)l...tlllwfirsl ~i~nili("'lllli IW\'llIil'lh-!"l'ntul"l' m..r,::·l'r uf plllitk:11 :\rl :Ind pllhlir sp:lrl', :t
fllsiun Ih:ll wuult! ,·~app•.'ar in ';lri"l1~
[clnm rnr lh ... nL'!\:1 till n·:lI"~.
Muralism Moves NorthThl' ~lcxiC;tll mllrJIi.~L< prudur\"'It lilenollly hundrcd~ ..r public murolb. m:tn~' of'"'hich 1l;J\1,' hl"n aclmuwlt'd;.:t:d as linn..11r nl:l"t'rpk'C('S. Thl' innUl'1'(".· uf Pll~
lie mllr:tlism sprCiid rapidl~·. mllSInotabk· II> Ihl' Cniwd Slall"S. TIll' lhrn'
NO
MEN
sanee, Oieg-c> Rh·C'r:l . .lust- ekmC'nlt'OrolCO and Oa,;d :\Jfaro Siqudrnll. 1I"t"r't.
:Ill infhWlIfl'd !'rI' lhe dnmill:llli slyl...~ "I'Eumpe;tn mlldt·millm. TllI'Y Il:<l'd lhest·sryles. h,,,\·C'\·er. It> ufTC"r ,..cilll ("lIllltllr-ttt:lIY In \\;dl"r public audiellC"l'll.Thrull~huut the IY:!lI,s .llld IY3Ib.
lhC'SC' anislll $Qlhing~' OIll2cked npilOllism. the (Jllln::h and furriJtn <.-ennumil"inlereSlS. ""1111 cummented la\"rabk' nnP~'C'hislllric-.ollligul'C'S. "lI,,'\'"mt'nL~
lind instilulillns that supptlne<! "'tIrket1'and pell";;IllI.~. Their mllroll< scl"I'\'"d a.< thl'ani~tic me~ln~ In edllQle a la'l.'dy illiler;lIe populace 2buUl hiswry, polilic.s ;Inri!,ude~·. an elTecti\"l;" altemalh-e 10 printand tdectmnic infonnation lcchnologieseuntrulit'd bo' Ihe dominant sodal ilndeconomic dOlU, Rh'ef:l, Onncn. Si·qUC"inl§ and SC'\'er..1other m\lnlis1.~crated II remllrl::able seril'"s of pictorialnarra.ln-n lind cumment2ries lin public
demucr.il.Uc predilections and aID'O(2(\' ofpTq!Tt'S$i\'e ideals in thC'ir "urk. thC' ,':t5t
nliljuritl· or .,ulitical :misu O\'C'f Ihe centuriC'S necessa.ri~· diTt'Cted Iheir \I"Ork 10dite audienrC'S.. Their p;ainlinb~' Kulp\Urn and prin1.~ Wt"T'C' pmduccd and coo~I1OlC'd (or tht' mOSI p""rt in prh·ale.lIhhllugh S1lltle pu"iler ~niJlI and cartooni~(l; LlsinJ( lithUW-.,tph,· lind other technoIIlj:!ical ad\":.tnces SOll~tll mure public.paces :.tnd "eoues 10 disseminale Iheir11;'icaI pnlitical mC'S.5altC'S. :'\lo.sl prM\.-en·lit'th<eOlur~.. ,;e...."Cf'S uf polilic:al an. ho\I'.l'\'Cr. h:.td ecunomic mources lind time."'hicll 1I11uwC'd them 10 become participiUll5 in Ihe an "'Of1Wi of their rCSfl'C'Ctn-e~rol.s.. upilali,nl....·ith its emphuis onfinilncial OIch"llll(ement 2nd technicalillllnl',t1illllS rJlher lhan lIuthC'tic orlll11r.ol1 'alues. encour.olged the an,world!l\'MeOl II) rl;'\"Ol\"e around patronage. gallC'riC'S. museums and critics. .J,n. in shon."';IS;l luxun' tll bt' ~njoyed 2nd con.un,,;,d. ifllnicillly C'\'C'n when thC' ,;sualCOCtleOl fir specific ,,"Of"b; l'C'pudialed lheI~' JI"\tem l(C'Ocrating me ca'S pril;kgcInponsil>le for WI arnnp;cmC'llL
Thdr harsh Itruggles to sUf';\"e en·sured Ihat mosl peuplC' \\"Cre excludedrrolO significant contilCl \\;!h 2n-worldprntilioners and institutions. In Europeand Ihe L'nited States. working.d:.w menand women. r.olcial and ethnic minoritiesand others Ull the ecunomic and polilicalmar~in.~ or societ~· ha\'e had minimalimuh'C'ment \I;th such dominanl culturalinWlutiun' III mu)Cums and galleries. ar~liry Ihlll C"\-en nOI'( h:u ch2ngC'd onh'-li,l:hth. FUI" them. the' \Uual;ms tm"C h3dal lOost :.t tangC'Otial impllCl un their lio'n.LI'ClI thdr cullcctn"t" PTOlC"Sts aga.iosl their"'alerial cunditillns and Ihe injusticeslilt", l'"S'pc'rience<! frUln domin:.tOl polilical. l'"runomic and judicial institution~
;llld per.onnel dre\\" little inspirJtillnfrom ditist artistic !ltlllrcC'S.
Mexican MuralsTIw: :'\ll'S'ican rC\'olulitlll uf 1~)0-19Ii
-'C't the~ for 1I major democr.uiullonlJ( ani.slk iludiencC'S bo' 5':~temaWojnJ:: theliS(' "f puhlir sp;;tce rur disseminatingpoliticalllm,"Orks. By thl'" t'1I~' 19'1Os. thegO\"C'mmem or General :\I\'lIro Obrq:l"onbrought a measure or pCllitic-.olI.stabili~·wIhal hind. clltaly7.ing IhC' eme'Xence ofnnC' of the nwn impurtant de\"C'lupmC'nts in the hiSlO~' nr politic:!1 art.Obrql:un's Minister of EduClIlion, Jme\'asconcelos. an imlli{inath-.: intellectU:llI1;001\011"1. slimul.:ttcd IhC' cuhur.oll li(e 1M:'\1C'l'1rll ~. lurning the walls or publicbuildings tII-er 10 mUr.il.lllnisu. ThC' thrrt1tT"t"".,t1 artists "ilo hq:'an thi~ mur-al renai,.
f:ICC'led t"mls. III I;ll').!\· IlIl111h.·" "'Ullll'llani~t~ ul Ihat .·!:I rt·hdlt·t1 a!!:.lin'l lh.·hi~lnric }XUlt'nl of "xrlll~inll ;mel ll\·..!kn~' rrt"OlIillj.:: ;th"OI;I1"·'· in<lilllliml> :mdl;tl.;.in!:l r.lCik-...1 dt·p:tnlln~ 111 ,i~ual I""":lnd rUOlt'IU. A nl"" "'millisl n .....d"u...nt'~s. stimlll;ttl"ri hI' major tllt"<ld~l~
including B.'\1'· "·riNI;lll. (;.·rmaim·(;rt't'r :md "alC :'\lill"" [II kri anisl> I"
crC':lle \'arinus rC'p:illn;11 .mel II:Ui1l":11orJl:mb.:uions and an puhlir:lliullS I...·".IIlrinjt lIlt" df"ns urw"nwn ani.>\tJi.
..)" 1;('\' ;Ini~lk 1il-'llrt· ..1 Ill<" l!Jilt-. \\~L'
Jllm.· ehit~u, H\'r alll-"'" r\...p..IL....· I" ,..".\:.is! ;ll1inwlt'!' ;md P~IC"Iit'.., 1."'It il•.,.. I" nlltcC'h'l" lhe li!omini,q ';"11:.11 hn';ll;thrnll!=h~
fOl'" "ilich sht' ha.-; otehi.","'It illl,-m;ni..nalI"l"cl'ltOiti(Yll, H.-r b..'S!-knCII111 pn!il'(1 1\';1"77" nil/I_I'tII1!'·. tht' l'ull:lhur,lln,' nll'm.sized ~culptllf~ thlll Illt'llIutl .. li/ed...omt'n·~ arhie"C'1l\C'1I1~ :Inri ~,rllj.::j.::II'~
thmujthmu hi~llll"". (4,mpll'I\"(! in I!li!.l.this n'KllInlllr-nml r-AC>rt ad:tplt'd '~Ij...in:llfnnn.s and im:'l:l:e~·. C'mpl"~iIlJt Ihetll :.t.'Iibcr.ninll: $\mhol< lhat C'nabled .....men.(or-m~ fim lime. lIll!S.qmlt' nJlltnll ,"ttIhdr own kXllali~' in th.' anll_ Hi!.'hh'COOtTO'l'C'rsi::tI. t:lpecial'" .lnlClll/: COll!ll,'TI'atn'C' critics and an h~ori:ms. 711, /)i",,"Pnrry (uruk(! nn IhC' sllbjerl uf ""llll"n,md their ilccumpli~hlllenl~IhrnuJ::hllUlhi~to~' :md rUStt'rC'd ;1 lit'.... ,,~II· til L'!\:P'~
Immen'l e!\:pt'ri~("C'S.
Such dron~ hal'e Iransfnnut'ci th ..
\ ~
rl(' t.. MupretL.aaari. ,.Jt:~. oil on 1paatl. 60 I( 48 in. ...,-'-'~
'988.
GenderGcnd~r has been 11 nuhC'r recent thematic addition to the long hino~' o(politie:tl art. urRely iKJIored ~. mllinwarn wrilers md critia. women anisuincluding Alice :"~el. Iso~l Bishop.~anc~' Spero. :'\h~' Sle\·ens. :'\liri2mSchapiro and Judy Chicago ha\'C' pur·sued~"'C'rfl\[ social "isions in their....orl: throughom the T\\'C'nlieth cenlllf~'"
The feminiSI an mOl.·eme01 of the 1971):0serl'ed as the imnlcdiatC' cata~'51 (or Iherecent fOCliS on ~el'ism in il~ multi·
\\illiams's pic'Ct'e~ rrum tht' InlC'5101"\' of Brtll'n. who in 18.;(, n;.o him)C'lrnailed in a box and ~hippC'd fromRichmond. \·iTXinia. 10 PhilOldC'iphia.PC'nnS\"h':tnia. His uniquC' 4nh·...«h- ~..ILI·lion nusC'd him 1(1 be' dubbC'd -Sox·BTO\,n. Hi~ "lIX is surrounded ~'I(ltlr pH.lar~ siltnif~'inll: lhC' m:.tj\lr tenet~ or\feslC'm sliciC'[\·. Earh pillar comaim afr.il.01ed ima~t:-l\ rose. a ';olin.:\ d()lr~
(ace and a skyscraper_pitomh:inp; l\notion of bc'.IU[\·. culturC' or technologylhat uans!ates u a c~ I':due of \\'CSI~mculture. ThC' m~e i.~ clear lind unantbiguous: these nOlioltS of -c~;Ii7..:ltion
lla\'C' be-en imposed on .-\mnia.ns or colur. especial'" Ihose o( Arrie-oln descent.This art....ork joinl hundreds of olherslhat ~;cld new. ImneT\;ng 'ision, in politiCll an.
..
~ult o( dc-I-eklpm~n15 in mod~m comnlUniQtiOIlS. moreo,·~r. cOntempor:af'\'polilial i1rtillS ·orking in thC' l'nil~d
Slalt's lind d"C' h~re ha'-e ~come in-CTraSinJ;lly lamiliar ...;th the ,,"urI: o( meirpt"t'rs. Accordinttly. crhiCillly orient~d
OlniSL< ha\"f~ infnrmal~' rU$lere<! 01 cnllC'(·th'C' "huill lIlu\·ement. indept'ndent orom closcl~'linked 10 p~e$Si\-epolitic-.olland sl,dal orttilnilatiuns and causesthruughout Ih~ wurld.
Race.,),fric-.oln-.~.merian \ist,gJ anisa in pa.nicu!aT hiil"t" (UIKt'nlTale<! on me ouuagt'OUSinjuJllices experienced by Arrican:\filericans in Ihe Cniled St:llies Jlinct'thl'ir lorct'd remO\'ll.1 (rom their .-\fric:anhomt'land). Frum the Hult'm Renai!\s;mc~ to the presem. Ihe!lC' anisu hal'e~'I1p;itheticall~' and sensitn'e~'documemed Ihe ,stru!t/tlt's and triumphs or the.,),fric-ollh~eric.tncommunity. despite !hehustilir. and indifference of ron'-entionallouSC"um.\. !'.dleria md educational instituOOns in me aru. Artists including .-\:lIronDoujl"las.•\rchibald :'\Iotle~·. HaleWoodruff. 1.0ts Jones. Romarc- Barden.Charks Whitt'. Eliz:ll~lh CatktL Willi<lmH. Johnson. Jacob uWfence, GordonParks. Faith Ringli\old and Da\;d Hammons hill'e used th~ir talems 10 docu·ment and '·.ollid:,lIe the .,),frian-Ameriatn~xpt'rit'nce, Their efforu ha"e i1dded tuthe bUl'Jl:eoninlt hist~· of political an inIht' Cniled States and Ihrou~hollt the.,-
The ci\i! rij;hu explosions of the 1960senCOllraJ::ed a ~'oun~er Rener.uion of.-\frie-oln-.-\merian ;mists to inleTUi~' thi.~
cfllllmitml·l1t IU pulitial an. A I:~' ronll'lOpUrJI" fiRurt' is P,II Ward Williams_whl"'l' rmnpclling "urkl; hal'e blai'.ed n~,,·
thematic and furmal palhs in political an."n",,"1\ especially ror her personalrC'Sp"n.~~~ 10 the histo~' of African:\meriCilns. Williams (ocuses on paslC"'enu III offer treneh"'nt commen~'OIbol.ll r.il.dsm in the American past. Herthret-dimensional. frecstanding KulplUr.il.1 ,,"orl: J2. HolI." in II Boz , , • SiiUQn""t;,tg (Fig. I) is a urildng eumple,ThC' box al me center is conuructt'd or....indow frames with cy:anOlype photognlphs shO\\;ng Ihe figure o( Henr~..Brown. contoned to fit "';Ihin Ihe con!.:Iint'r 5eT\;ng as his p;w;age 10 rreedom.Th~ single sentence wrapping the bouomor Ihe box forres ';ewen to circle thework and gnsp qu~'lhc 5t.~. ora sIa\-e...no found m aIrt\05t. unbcl~-abk- ,,~. wfrttdom: HenlY Box 8r00.n escaped sJa,'.eT\' enc~ in a box ! (ecl \\;de and 2fC'Ct Ion~.
461 1... 11/••• S....·\i.~." •. "'.·... \-............ s....·\·<-llil·lt.... 463
.ll..w
- . ~
1;ljl!jltJI
V.t....n. Affairs:Assistance Program
1'l>c tis.~t d.VC'Ul'ItII A1faln' West U.J.nctIs WeclIcal Caller Iw)lined 1_ wlUI tlI.. 5&1TI!lDIl AnII1 til _It: IlIl
e!fln-leDe1 .,mel pro.JI'llI for lIaaIdea Tl'W'UIL
TlM PftIInlI' CI!If'Il HAVEN (Ad,.,., AaIi:rI Vet·enn, _lib Emerrent1Nfttb)...... dcdlerlllll on'nleIdq b1 VI!lcnI\I Al·I.ln Secretar1 JuS!Brown. II ill Intmdtd ~
prondc \.C'tIlflIII'V7 !lauI1nIfer~~tnd
beIp thaD bet:orllc tdf·fUIlldmC"lim and __1>0
fqht ler tnedolII dIollldDIll. tU.n to Un on theN'ftU.,- Brown lUI III i
r1Att1MIIt iIIued ~1.., torwider lhla lit ihmlUItpriorit1.~
Busineas: FarmersMarket in West'Nood
ADotbC'r flrnleft Illarhu:It IproutlllJ up 011 theWeNId.., On JtIlIC' 2. Well'wood pliDIlD ....~ IVI1/.qc F'rnnen MlI"ket onWe1bum A"C':llut, bet_"nWnuroocl .BouIeYVd and'I1Tmon ATC'lIIJI.
The !flUb!, to be heldThundl)'l froal3 10 7 p.m...wW lellure pl"Cldute IrllIn30 fUTllert. Ptrtlnr wllbnlJcliUon wW be anUihle.t Bullock', WUI..ood
"'''''''...Education: TeacherFmalist for Award
A Venkt fUrh Scltoolmub luther hI' beenlWIled • tlDIIlr1 fer Ul!J.lme EKalan11 MIIIl,mallei: Tuclm of llle YearA....
CII"'oI Locl:C't1 and 10 olller Iln.lI,lt will recel'"U.tJXl 'M:h dIlrinJ. l'eCep.UoI1~ II UlI ARCOTo"'er iD Dcrwn\.01l'rl LotAn,pI.... 'I'be wiMer olllleSUCO tacba' of the ",ari"'ud wW be IfIfI(lUIlC'fd.1
""---Tbc .WV<i It tp(lIlIOmlby tbC' Lot .....In EdIJea·tlonIJ Parttla$/Ilp and llleA.RCO F<IlIl'ldIlion and I>uhecII Ji"m Uce 19119. &1caW1U IillJbt IIAUl ,t •hl&:h rdlooI bI Eatt u.~ .uJd lib NrUIIw\th IUldmts CIll('I comid.ercd tIllderadu.."C'n _u!be flI!Ijett of .luNl"r 111m."'SWldandDdlTer.-
'3Monl
Quan', lnteTm In cnmll andItt bepn _ben be _u in junlor1l1Ih.. 1 ilI_.yrI A_ cnJliU !T·fl'YW~~ h! AJd. 1 IlTfd inEa.r.. L.A. and Jr*f!ill ..u _.
Ihln&: I could relit! Ill."I U1lnIl OtIC' thin. tha1lDUlled
aU 01 \II II that Jf'&!1i1l II &II 1ftfOl'Tll tPOk! to \II in , _,)' UutOlh!r fonnt 01 1ft d/dn'L It q:>;Ik,to lhc rulll)' 01 .. Iltl I &lid m)'
frimdl knew. and from thm! itwu a"~ to oOler
. thlnp. J JO'.lnll'Oduefd to ma!It.$I1t'UII art thnNJh pffltl~
or lhc 12 art1tta. four. lncJud·inI Quan, haT! bfetldor', dell""" in fU>e trtt. Two an ttudenlt at 0t1lI Art IlItIitute.
SC'>'en 0I1b, 12 Il"f silo Cl!IltIItI:1Ilhdr YOrb in the MlIIC'\lIIIof Cool..ealporvy An" ahlhi.tlon.. -Urban RC'TiIIonL-
"WbfD I~ towud tlI' 1ft~ at Ill)' hJ(h tdlool 111,)'rn.Jl)' falJed _ - MOl'lIat..-o Aid-c;ttf
SOCIAL ABSTRACTION:
The Phenomenon of Graffitti
By Chaz Bojorquez and Luis Ituarte
There seems to be something very, very wrong with America. We areDct willing to understand ourselves. The ashes are still smolderingfrom the Los Angeles riots and as a city we are grappling with theideas of what constitutes art. Can art really work in shaping a newvisual mentality? Can art function to elevate the spirit and createDew leadership (social and expressionistic)? There is supposed to be aDew social order, but in place of order we seem to be stumbling intoa new social disorder. We see artists still today attempting toredefine traditional social problems in "the same old ways. Are there"Dew forms of art? Here in Los Angeles we are living a new level ofculture clash. The 90's is bringing us out of our personal and·traditional concepts of culture. T~ere is now the new concept of theDew participation in the "event of culture", symbolizing our cultureof change.
In Los Angeles we are witnessing a revolution exposing past culturalsupression. There are many more minority "players" that constitutean entirely new make-up of this city. These players· together becomethe majority and they will determine the blueprint of what is the NewAmerican City. Everyone is participating in re-inventing the identityof this city. We have new forms of music (Rap), new foods (ChinoLatino cuisine), changes of street names to names of minority group'ssocial heroes (Martin Luther King Boulevard and Cesar Chavez Avenue).Art galleries and museum spaces are responding to increased interestio, and showing more socially-conscious artwork. The traditionalgallery market is. collapsing for lack of interest (equals sales) in thecurrent mainstream art.
A majority of new cutting-edge art appears to be coming from grassroots initiatives and the "anti-/counter- shows". Artists are notturning to the old gallery/collector format for exposure and validation. The closing of galleries has denied much new growth. Notsurprising, the focus of art patronage has shifted to the social artsadministrator. Altogether, community groups (constituencies dealingwith violence, gangs, grafitti, homelessness), City Hall's culturalAffairs Department and the Nation's concern address a new re-evaluationof what is the New American Culture. Who are we? How is our artreflecting this new identity crisis? Who is going to re-define us as apeople? The artist/non-artist participation in this new social '"event"is what we can call the New Social Abstraction. The "Abstraction" isthe many faceted, non-related social elements coming together todescribe the mental make-up of our evolving culture.
Social Abstraction works in the social consciousness and is a newdefinition of art in which abstract expressionism cannot define thesocial (dis)order of grafitti, revolutions of the youth, Hip-Hopculture and Rap. The preyailing artform of conceptualism surrender.the artist as a spectator and evaluator but leaves him out of thesocial "event".
Social Abstraction is a pragmatic concept, a way to engage aconsensus of the public concern. It deals with what works. Weinvent a new way to survive, and that's what is going on in thestreets. The artist is becoming the social phenomenon to explain t
'social "event", and by participating in the event, the artist reg.ihis individuality by signing his name. That validates him in thecontext of his culture. To be a Social Abstractionist, one works withe forces of culture.
The culture of ancient Egypt we understand through the explanatiof their art that has survived. We do not ask who did the art, whothe artist. We just know that it is part of the the Egyptian cultuas we know it. Its art tells us of the culture, not the artist. Tartist's intent is inconsequential, it's the culture that prevails.Today's multi-culture a~cepts only what works in the context of it••The surface intent of the artist is irrelevant. Art is the result 0the participation in the social "event".
In these days, preoccupied about the Post Modern world, we see tgrafitti phenomenon and one wo~~ers if this is the beginning of a nform of art. Not so much in the sense of what Generation X (the yoare doing, but more .in tbe sense that we are all invol ved in thecreation of grafitti. We are all vandalizing in one way or another,pollutio~. :political demagogy, corporate irresponsibility, 'religiouamanipulation of spiritual dogma, education deficiency, and socialracial limitations. Grafitti represents all this. The destructioncomes from having no respect for the icons that represent them. Ingrafitti movement the object is not destruction but re-building a Ddefinition of our city. Grafitti lives in the failure of the socialresponsibility.
Grafitti destroys the face of the canvas. The grafitti artistexplains the social "event" through grafitti, regardless of the intto vandalize. Just as the Prench revolutionaries, in the search forequality, burned and destroyed the beauty of Versailles, South CentrLos Angeles burned its own neighborhoods, to destroy its ineffectualexistence, but subconsciously, to cleanse and rebuild new leadershipGrafitti is inventing a new form of seeing art as if culture woulda mind of its own.
More and more we realize the importance of languaging.looking like it lives in language, and it's no coincidenceeffecting us the most is the re-definition of words, which is whatgrafitti does. So often a cultural revolutionary or guerilla artistwill choose language and· word-art as his battlefield. Now this ereathe premiss that grafitti lives as a interpretive element of cultureand an important part of the transformation process into the SocialAbstraction that begins to define the Post Modern era.
Grafitti artists do not call themselves artists or considerthemselves part of the art world. They call themselves "writers".They write their names, territories, or pieces to draw attention tothemselves as a product of a dysfunctional world. They are part of
cial Abstraction. and as participators in the cultural movement.:~eY produce art. There.is a social,in~ent in what they write. not,01 el y artistic. As Soc1al Abstract10n1st, they work with the forcesof culture. The consequence of grafitti is the awakening to thef "lure of social responsibility. Social Abstraction resigned from the.a~ent of vandalism is realized in the subconscious aspirations of a~~tter world. Graffiti writers have no pre:determinati~n to chan~e the
rId. They come from pain and anger, need1ng self-fuf11Iment, w1th a~~sessive burning desire to validate their self-esteem. Through:rafi t ti, our youth are not destroying the ci·ty. but deforming itsvalls to expose its social faults.
We are living in a heavily multi-cultural city with many languages.Language is a main social ingredient. So, it's not surprising that awar on language is taking place here and grafitti is but one of itsplayers. The qrafitti youth have little or no protection andrepresentation. Their attempts to express themselves become the mostvunerable to attacks.
Grafitti describes the social "event" and proclaims the need forchange. Let the politicians. homeowner's associations, artsadvocates, grafitti crews, and the rest of the community work togetherwhere they can acheive new solutions. Through all of there effortsand participation they then become integral parts of this new social"event". There appears to be an enlarged new arena of many players,each equally aware of the need to change for the better. It is the'tuture results and the historical analysis that will put grafitti ~nto
its proper context. Any visual medium that addresses these crucialsocial problems can be defined as "art".
We urge the established art community to embrace these rebels.We could offer more venues to help grafitti crews to v~lidate theirvision and express their concerns. Only through the participationwithin the social group will you have change. When you have grafittiin contact with art, it brings grafitti into the spiritual context ~f
creativity. We truly believe that creativity is a cornerstone ofgood citizenship. Even now 1 grafitti is preparing the social arenafor the redemption of humanity.
•.- .:
·..
-~-~-
k'~
c..0
"•:!:•a,ttL
r'",..<
· Z:.:G)
'1
".;1.....C
'. Ii-". L•.- ,t".0
-ll-ll~
Al Mark TWIirI. veterall "ooeocr'·' te.eh thel~ 01 s.pl"'Ycan aI1 10t.~ lTlOIe !~r wi"lh tn.IrIIlng pens.
itischool
SAN fRANCISCO
BASEBAl.L cap backwan1. ta~ nlfht jacket_ $aid)' 1ft c:nd;td J*m.. £:sm_ is on hit _)' totM Marlt TwaIn HI&h School oftk:e _twn. kid
,tops him ne:n to~ Coke lnlIChine.'"Got an)' dlanat, man!"'Ellul. te:lloC:hes Il'ItI;I • podtet and. plllis out. palm rllD
of~ 'pray (&II no=leL'Sony, It', all r~ lat.-he uUs the atllda\t. n- he
awn. tOday, '-' plaa back I" his podctt.At Mark T'wabl Hllh, , CDIltlnllatioll IChool or 236
atlIdenta who ror lnCI8t or thdr &I;S(lClftl( C&l"ft'l"II hav,pte:fentd to be IJmoat IlIyw'Mte: c.oept , dassrooll\,UKMl"II look ror llOrntthl.nI - anythlna - to enpIt
"""-So. on Wtdntsdaya,~u partklpau I" modlllft.e:xpIo.rin,a m..-..ma or atuelyint'Africlll-Arnt1ic:an~
5H CR.AnT17,~ 5C
BY KnI 8OA,11IAH.-..----
the
gra_......... sc:hooJ
.!.'- 'NrIC::l:M:o,-_~lhetrtcu
.!......'c.an
..... bMltlo~
.. • ...nt.rt
Handing down the spray can
7
Atlantic the image oftheir own fvD..re, like itornot Those at thecuttingedge incutturaI and artistic circlesare. as arule, quick tonotice anything new on the American scene. One such personwas Claudio Bruri, an art dealer from Rome. who frn becameaware ofNew York graffiti in a small co8ectlOn ofphotographspo..t>lished by an Itlianvisitoo" to New Yori< Oty. Among theartists with trains represented in this bookwas Lee Quinones.
In J978, notsatlSfted WIth the staggenng runber of~top·terbottom whole cars· that for frve years had by sheer numbers,scale, and mastery overwhelmed the competition on the -twos :·nfl'lleS.~ Lee had begl.n to transform his neigI"OOrhood ~ theshackmof the Brooklyn Bridge into one ofthe city's mOstspectaC\.la< _ ofpub!;cart. Panting by <ifttt. toe created aseries ofunforgettable monumental rn.rrals on handball courts:Howard the ¥ emerging from a trash can. the guardian lionin the catacombs. the Silver" Surler ·hangingten· in some"'<gaJaaic: WaiklQ. ard an apocalyptic vOOnIwamngofthe<Udearholoc>ust1tmcould~us all Fab 5Freddy broughtthe VifkJge Voic:earoundtosee thewalls and they ran an articleand photographs of the rn.rrals, These came to the attention ofClaudio Bruni, who flew to New Yerlc to find the artist Shortlythereafter, Lee and Fred were invited to exhibit1:tlei'" paintingsat Bnn'sGaJIeria Medusa in Rome. This was fOl'" many in • . .ElXOpe their fll"St experience of the arrestl1g beauiy and energyofgnffm art.
In 1983.anartdealerfromAmsterdamarrived nNewYork Iook.ing for the -writers" he had read about in art journals.Yaki Komblit ha(j plans to introduce graffiti to the European artmarlc:el to the same coAeaors who twenty years befOf'"e hadbeen d<awn to PopNt ard had ",<Mjed the en1I"uOasm ardeconomic: backing to launch that movement in the 'NOrld,scooping rnon American collectors in the process. YaJcj se1ectedas his core group artists who not only were veterans of thesubways. butwt-o had also been rouded;n~NewYori< sI-ows: Fasruon Moda. the Mudd CLb. the New Yori<- •NewWaveshowatP.5. I. the FmGaRery.ardothet> One byone. he launched Oon:fi. Crash, Ramelzee, Fub.xa 2CXX>,Zephy<. Qu;k P01k. Blade. Seen. ard 1>1 Blast in t>grIy successfulsolo show's. and he organized a major breakthrough exhibit ofwori<s by these anists at the Museum Boymar6-van Baringenin Rotterdam.
l-IoIland was fertile soil in wnen to plan1 these seeds. It had alively. _oous. ard 00eperdentyouth- p«MlS. p<ri<s. ardsquatters who regularly staged confrontationswith the police.The Dutch were already prolific street"taggers: and pIXlkwrite~ such as Dr. Rat¥d Dr. Air were .up.all overAmsterdam.~. some of these)'OL"g people would
fP 1-- /2-._ '1.1 ,', ' •.- r.. I:-. 0" _'....... ,- ••I"~J" _ ,',. , .....
-'~":~"~.'.,.
otfJOIth:RockS~Crewlnfrol'ltof WlkISty"~and""ott
~ton).lftJ
Kids write graffiti- because it's flnlt is also an expression ofthelongingto be somebody in a 'WOrld that is always reminding )'OJ
that you're not That being the case. it .......as not at all surprisingthat when tJ-e youth nother parts ofthe world became awarecJwhattrer cosnerpartS nNew York City had been l4> to fOl'"~. theywere quick to try their hand at spraycan art. ThenetwQr'k that orce linked the ·bombe~••crews.••mgs.•and
"toyS" from all the far·fkJng boroughs of New Yark City grew toencompass cities from Chicago and San Francisco to London.Paris, and Viema and around the world to Auddand andSya-.ey. New Yori< Oty is Slill the capitlJ ard antur;; cerne' ofgraffltl. It is like Mecca to those who -.vorship at the altarofsty\e.
Not long ago, awnter named Disz shovved up in New Yorkwith his camera at the I25th Street station ofthe BroadwayLocal. Some young write~ methim there, discovered hispassion for graffiti and brought him to Henry's Manhattanm.dio. Disz was from Holland but he'd been JM-ig in Australiaforabout three~There he had frn become aware of thenew an: ttvough such fdms as Sryfe Wars and 8eaI: Sveel Thef", leg of[);,,., polgrimage had taken him to San Francisco.where he had looked up Barbara Bode, the widowof VaugmBode, one of the spiritualancestors ofgraffrti and creator ofthe·Cheech WOZMd ard0_appealing""'000~Ore.In NewYor1t. it wasn't long before Diszwasexploring theru'I"tler onetlSrlel at I45th Streetwith such arrentborrbersas Say and Wesr.One and old masters like Kase 2
What is a young man from The Hague doing bombing theone line in the I4Sth Streettumel with Bode ru:les?The""we<~ " the histo<)'ofan exuae<d""'r cultu<aJ ex<NngewtMch has taken place over the last several~ ..
"the sevent>eS. tra"*,, from Europe began to bring backnews ofa most ll/'l..lSl.Jal phenomenon taking'pIace on thesubways of New York. Somebody .......as painting the trains with astrange new form of letteringand crazy scenes, transformingthe 'olling stock of the Metropo~T~tionAulhOOtyrito giant mobile comic stJl:>s. The Europeans were higNyentto..lastic:. They had long looked with fas<.Ntion upon thelatest trends in the United States, seeing in the giant across the
. ,
• Whie we aelerieJoMedge lhat graffiti is a plt.raI ro..n n the orignaIllaIian;reitt'at~~ ~demandstNtitst'OJdbetrutedassuch.
sncf:the~dthe ~Cllf~Cllld ~art. thev.o-d '"~speed'lNs~tobeCOlI'ICll",,~asasireJar.n.svemacuar usage.~I$~arnorog~olthe art row~ better to tt'OSC d 1.1$ who are acC\.lSlOl'l"led to it and we .....contn,.e the pr3CtJC:e tI'n:lugtnJt the book. To tt'OSC (inc:WO'lgos 0'0'tI"I
tditor)fcr 'Nhorn°gnrrlti" f(llov.oed by"5" sti SOU"'ds fo.nny. we oIfer CU'-
-....
T~"'IUI Nt-yte. the~t!~ crew~ Md en,.OM he"'"~ to rer ,...."hall bct'tI ctwiIlcIlinf: ill ... ,....all. Pic.-. ...., b_ 1ft ...ttl ~ rlthen In a r.... -.....OIey hnc Dthct" prioriUes.
But £atria andCn~__dri_ by the .n..
"'tII)' or lw.'rinl IlOdliIII ...~ 10 "'- ror -r 01 U.IlOO ... «I II'IUl'la. IUft)' ......thrir ~.... J'IftI(Iuo;td. F.alria ....C...ynnt Irr lucmlJtinlln __•JII (If Il III I ~itimaLC an .....Onn. or a>UP8C. they rtfcr 10 dwIrwork • C'lIIIIIIissInned and _commiuloncd ...thcr tharI ....and i11cpt.
Thcy._ dotIC _ ......
rtff or In ftchlna' foo- ..,paint. aC'CC'fKed • rc....~.ionII~ IIId C\In'f'C1Uy ....• dL1,play of can"-' 1ft I ..f"~caf~ TlwJ ""'"'~bYlclty~lOdol"""llonC I bulklinl lite. £Iltrir, ...taken pwlt-~~
-If you ctoo-e ttl ~ a ......artilt., you haw to be r..tJ • Ill'poor," Ettria ..,.•. "AM 1_poor.- .
But he II also In love with ....Irt ronn, Hc l.elchlN btn_paRin, on 1'111 pasalon lbout....,.fiti miIht helP it cncluI-e..
-If I III~ 1ft hbtery forflllWI, than OK.- II" £Ilria.. ..,.1M, whit I'"c pined II Mb(IpDIcd Oft to thctc PfClP/Ic a ...~,.
A Gerinl", moment came rt·ocntly, ....haI onelll:Udcnt appliedhIa .... to the Ifttiol:l oflllUraI onwhid\ he .. worktn&- £atria. InI way III aodmlrinl Ca/oIaJIftl alb-mantr,- told the ttudmt he wasnil( to I« tun.ftf apart from Ole&rouP and told him to CI"IIC the:
tat ... I '- In the pWorra'code of ethks, a '-' lbout ~ ~tpecl fer the an..
1loc daM it auppoaec! to n1"
f""" I to 3 Po.... but kidI ahowup ewtJ' and ,""" laSe.
"I IooIl: r_ard to It C"try--.~ .,.. Neil PIke, who l&bon_ the ~Ikc dw'actcr he'.eonutbutinl to the mural. "IIQ toothtT ea-.. The)"rt boriftl, and1juat It:a,". I IIwI)'l ao hete."
or.tria and Cnr- arc tneh
lnC thb: daM rer ffft bKIuM ft'aan ImporWlt 10 them. Or II c.,•-.IanI pUll It. .'they "'""'" nmout.- and they'rt aIWl" on time.
1'hnc t_llly_thlnp areamona SUI Fnnc::i3cD'. flnt &encTMion of prit! WJitc'rs. piKcrIwho ckV9Iopcd nputlUONI rorUUTf'aprIt m:un.b and who',"umed rccopjtlon in under·pvund priU public8Uoftl.
And a1thouLlh they dcn,. It.their ace II; ttartllll 10 ....c\Pl Oft~ 1'hc7 rtallzc there artn'lman,. of thdr Idnd around any·~
1'1-. who 11)'1 "!'1lI purely!No k to ;..c. wreck m1fr butwho donn't 60 church" orhoInD. .. In dcntaI 1«h ac!'aooI.leamiItC tAl aaekc dct.wrca. Cny·_1127.
phy.lcaJl~y ur Il," "Y~ £lull,I"t"rin« towlrd the lI\udcntlwwldnI on t.M ....alllO the "'IPC~.t OIump.!n« rrom I .-arby-To kftop the d_~ e.ma.Jlnl 1'111 'SW"t SUO ~ rlr nn.pray palllt. and (clloW I.tadlf'rShcfTy Baa has doled out S176.Clm";I"! I. Ipplylll« III ~cach
xhooI on Sllurdl)'$ 10 PlY for
-~ ......SM'I mlll' to IIcrln« I
chwUt of Mr Sawrda)'l ror the~ 1fl2r wa.tc\'liTC her ItIlCScfIu....11t_ftdlJll:l\Ollt .. U ..~"'1'", IIlt.Md_'lt"I~of__ to ~ III lhb cl-.- ea",a·.lM1 ")'I. "I kilo.... thll II ror thearnur JOOd or 1<ICict)',"
A.ll.hw&h IJwft aTe f"" ~"cn_ for ,rlfflti. £lull be·Itc¥n ttudcMI IIUCh .. rc.rt zuUta, Rk:udo ~,JoeIe.u.tisI.IaNl8a!am N~a1117.arc
Iclmilll rftpKt. diKIpli.- and.....-..........In~
'Ta-1lIIM. they -.... N tIM next fI'tcae-. ...., dMy
....., ............ c.Mt, ,...._~••
_ &ot..... u.s,...,ea.Arl;..,...........
-N)' duI hall the belt .ucndlnn In the .chool:' rAula~ "'1'hc otMr tnehcra ~jea.IouIlI hdI.-
But off\ciab; who miIN ctoaJ.leftac It. nutcll<'C don·t kno.....- ..
"I ha_'t """ wid my cliItri('l,- ..,.. prillc\pal 1::1,,1... Dundy with I dluckle,
oGrafritl ian't wNt It.-cl1O be."AD you'w aot II; a bUlldI or
tagm, lOin« IIOl.Ind Ole cSt)' UICItenwiIl.nI the WaUS.- "l'I Cnyone with ulltrIlltlkablc ICOI"II.~ UICI Estria art rrnm
the oM! .chocK, ....hen, they ..y,....rrttl 111. C'Ountcd for 10"',,"thilll- They'rt ItI\OWfl II pi«ocn.an-. ....ho Iabnr __ dctaIltO__ Tlwrt'1 roothlft& ....pduhlbout whit tile,. do; the)' UN
.....ycanalike~ ""And 01",. bcllc"l:.- in IOmc
_, C!'!1arc iaolIted fl'Vll'l the:~ an. world and rnJIII...--A lot or us. wc'"c done ourthin, lad mo"cd on to otherthirCa ifI tile.- II,.. Ink aG. -Wetry to .m _ IIOl.Ind, but _
didn't raJtr thow Ole""""~atlofI the lit aldt 01 It. the .....,_1IW1ed."
I"or £aril UICI Cn)'one, tt ItalIouC. oploraUon, the IICIJ'dl fornew~ UICI_ttyln,
F..&N knowa ....hIt he II; tllkin&~~ ,",mu hN beens-n. 0( hiIIl~ he ... I'; Attlrwt .. tI1ed tllPl\I. but _ hear- W'fd of the:~__But the an _ wlt.dlln« mul'k_ to Ute _ hooked him.
Thal', ....hy tlJ: years qo he_ to Sen Frandaco from H~
IlCIIuN to put h\INIelf thnN&h littehooL He 11)'1 he umcd I deer- rr- 1M UnI¥Ct1ity of SUIP'rancitl:D. but he n. Ilctit aoodto .., about an acNool
-It ... about IIIIItinC VI IVW... buck doUII averap an, t.. to be the IlUt CI'UJ f'Ieaa.10,- he aQS.
,. ,•• to .......
AM IIIIYM th •• wh)' hcaprftdt Wcdnnclay IfternooNtadItnI. ahowftlI I IWdcrIt hnwto wNlUt I nra:Uc wiUI VI X.AcI.ollnU'e 10 It wiD pf'Cducc I .pta,.wtth ... J*nt per aquarc Inch ofa1rf_ am. offcrilll the IOn or_troI that Clllble. plca~ topnIdr.tcR deu.l1tO 1l'f\qeL~ _ of r.tria·1 aw
...... tagIl"t. they _'taIdIW wUh .....y pa,Int. Tht7"""
.esc.. -" or their" WOI1r with___ becauac peJnt ian't tctIIU-b'.....u.blc for "'\non..
"T'hey're ItUl cJCplorln. thc
-GllAFFmfroraPat/tl J C:'r)' or _ bar!'aI JWdbt-IUnd U. bMdl~ in ther..- HOI _ -eJl 01 Golden(".. Put!.
AM tMl', r.N. m...reeopDM of hie ua!t.__ &II cIoII t .. YbIlirI&tndleI' ..... ,..,....
V.'lI1le' IN publk .,.. aboutpV'ftti. ud ~bUc apndls MI..t.It fllriolDly and of~ futl~l)' 1(1
wipe It OIA. the 10 or 10 .cuekmaIn Twala'. Spray Can An Cl_an hINItd cans ndIW~yand tDId to 10 to IL
..,.,. IOGa, tJwr could be theMX\~~"l'FMriL-But IfthtT don't han opollW't &II an.)'0'111 __ knoW. ~ lIIiJlnJet Into ICUtpwre.~ l.hls. WIY.be I,dntl -.n will open !.heirmltw:l to an. P'riod--
oA_~ to lqItlnllx cm'lltl
_'1 all th8l \l.IWW.al Mea._IIIullllln lNt unlHru.ke anti·IP'flhl~ Ioclk for ara.ic0IItleU tar lA&P"o the pntlwriters who ClDIIlpeW to .crawlthdt~ UllI their tal IIUnD;::-:.:n:*'~~-:nt~l~Bay Arel tup achool., uacher
• Terri e.-JaIV. who~tIaia _hcrlthe ... lUm pIint!ncthe _ COIdI or ..~ undfl'lT'O'Und ",",adM, belle¥DTwain _ be' IIIIlOIIJ Ule tll'It toI'KnIit an. te8ChftS orr the KreIf,.
"..-To do 10~ .. t'lGlbllltyill atdtuclc _ dosn't ofte\ find
~-nm, lMR', tM OM-l'laJIll
"'....WII.h the u:eoeptlon of Rllt'"C"rone" Jllntovac, t.trt.'.Joncl1nw partner. o-t Ntbla 10by thitlr ,nfnu IUlltltles.n.r~ alIltn)"ed on the 'Ot1'OfIIside of property~ ud theydon't~.~u- 6cvu"l111.1 thrir Itlldeaa - _ of.t-~ tagrn - fro. cldk'InI public pn)pe:rt)'.
"I ... you up _ .. -.- er.,.._ ..ya UI _ IJtUCkftl. malcinI
M""""'"C1eat'l)' r..trIa. era,._ 'lidtheir ..-.....u 1M OG Uld H_60 nat nIII .. conW!nlJoll&l~
Onr IIlIadent worb • Ule ct..Pf'OJecl-Cl~ • ...tond_ral U.I' .nil .~II OIIt H ...rkTwaIa" lift .. pla~ MMllnI'" - wtth.~, an in_hand aNI.~ 0at\IIlnIfrolll lib llpa.
A tagIr who _'t ftII"lll*t illthe eta. .m .,... vp to pUM.
And &tria, who'........1ookI1Wl'I.... wM b» rr.IlU'ftl pill, to ~ raiI&akeB '« •.weM:nt,..nil(~ ill UI6nC"llJIlldt luII"I'" wl\Ue will",_~and_of~_
IIaWltl 10 qIIlt fool~ &n:IUNI.StIli, themall """ .. IICIth-
IIal but I rtJlIDin&-.
meet the great writers from New Yark at Yak,j's openings. and the word than anyttVng else, even though the art'WOf"k'ln the filmthis influence contributed to the rapid proliferation ofsprayan was done by professional scene painters. amateurs as graffrtiart in Amsterdam and gave it astrong New York flavor. artists without much experience with spraycans. But only New
Two trends have emerged snce the art world embraced Yorkers. with a practICed eye. questionedthe authenticity of thegraffrti in the early eighties. ~ one, those writers who joined the p!eCes that appeared on the screen.estab6shmentanscene began to ,espond to the influence of The Statue ofUbe"Y. the New Y""City skyfine. bridges.deaJers. collectors. and other artIStS. and they discovered other and subway trans are the mages commonly depicted in mJraIsmotives to produce their art They evolved as artIStS. their work from COOgo and los Angeles to Parisand Sydney. These arebecoming in some ways more complex. more subtle. and at the the icons that symbolize the wel!spmgofgraffiti. The subway In
same time more appealing to collectors in the fast,movingart particvlar arouses a response. evenamong kids who have neverworld. These artists have often lost sight oftheir original public. seen one. Spraycan art evolved on the side ofa moving train. Toretaining only the use ofthe spraycan as a tool, vestige ofa be sure. it can easily be translated to a fixed surface. but itcouldformer vocationas graffrti bomber.lhe second trend is the. never have started out therein New York. wrners have an .extension ofthe original NeoN Yarkgraffiti world beyond the: • aJmost mystical attachment to the trans. the giant worms,Sl...bNa)'S that f"* the Bronx. Brooidyn. Queens. and MaMattan arteries., the beUy ofthe beast The drama ...,...folded on theto the streeu. playgrCUlds. and underpasses of Pittsburgh. San trains. ., the darkn..n"leIswhere wnters encOl.ntered danger".Francisco. london. and elsewhere. The)'OU"lg inhabitants of high voltage, cold O"US/"lng s;:ee1whee1s. giant t'urtf.ng monsters.NeWYark CIty who Invented the art were partofa youth The trains were the arena where the wmer could proveculture 'that included artists. break-dancers. rappers, and D.J.s himself, and it is this adventure that caught everyone's attention.and their creations were ways ofcommunicatingwith one Throughout the hislory of New York subway graffrti.another. likewise. it is young people who have taken up writers also did pieces on walls. Theywere agood place onspraycan art wherever it has emerged in the rest ofthe wor1d which to practice and in penods when the -buff'was operatingThe artists and their public are stJD mostIyteena~ they presented aconvenient alternative to the trains. a place to
Probably the greatestagen;: forspreadlng ths art form keep yoor name up. Graffiti in New YOO had firstappearedoobeyond irner-Oty America was the Hip Hop exp/oslon of the ~waJls when !ods began taggi'lg up therr streetearly eighties. The films. videotapeS. and books that described names. Graffrti as an art form began to l10urishwhen theand promoted the culture of rap music. break- dan&ig. and write~. as the)' had come to be known turned to the subwaysgraffm writing made heroes of the young forerumers from totake advantage ofthe high visibility. the n..rge potentialNew York's streets-Africa Bambaata.. the Rock Steady Crew. audience. and the link with other like-minded kids throughoutPhase 2 Blade. Seen. Skeme. Dordi. and lee to name only a the aty.few. Kase 2's formlClable presence" the film Style Was and the Other writers have stayed away from the trains andbookSubv-oyArt prompted wnters in Pittsburgh and San concentrated Mead on palntingmurals in their QVo.Ifl
Francisco to adopt ris style and the camouflage tednque he neighbort-oods. refll"ling their styleson walls and handballnvemed called ·computer rock."In Spain. Bambaata is a courts, someti"nes invited by local merchant5 to paint riot gates.demigod to young B-Boys who )'eam to be 'down" in his crew, Still others were adept at both trans and walls. lee was. at theZulu Nation; while in london. Bristol. and Birmingham, England, same time. king of the dty subways and a recognized master inthey paint the walls with the Zulu symbol. the raised hand with his neighborhood, He carried the art of painting handball courtsextended index and little fUlge~, sign of love and peace, farther than anyone else before or since b)' comprehensively
In many aries. write~' fII'5t exposure to graffiti art was at a utllizingthe gfven space. A different magic was at work here.Hip Hop concert. often staI'1'W1g the Rock Steady Crew, one of 'that ofa roeigttlorhood transformed overnight by a mysteriouswhose members was Doze. awrner from New York. Others hand. SudderlytO come upona mural by lee is fike frdingasaw Malcolm Mcl..aren·s Buffalo Gals video. shot. n front ofSky's treasure ina cave.the t..irrot Bil Blast's handbaJI court. or they saw the films Wild Trains have been painted in VIef'Y'Ia. Dusseldorf. Munich.Style and Style Wars. Through these rnedia. the culture ofgraffiti Copenhagen. Paris. london, and Sydne)', but they are rarelywas transplanted intact. embracing language. history, customs. seen by an)'one. This is because the writers in those cities areand rules. bombing. -racking." and the competitive spirit. Beat relawely few in number. and the transit workers can easily takeSrreet. a productof Hollywood. probably did more to spread the painted trains 0\Jt of sel'Vlce and buffthem. So, apart from a
B
Forl.rt: G"enoAn by Dream(l.os Anlelu).1 9UL.efC: DHtltand Hlp Hopby Zakl (London). 198<4Selow: Brim (lDndon).19aS&<tlow un'er: Oeailofpiec:e by Children Are theFvturo=. a US-So"iu collaboration (Ye","AII,~la),I9iSS
8ortOlll rilhc Brim u Orionl,19"
few forays intothe yards, wnters outside New York City havestuck for the most part to walls. Tnus there is an essenoaldifference ber.veen New York Slyle and styles 'that haveevolved elsewhere. a dIfference summed up by Shame 181 oflondon
The Amerrcans.//jke their stuffbur I \o\IOU/o'n'[ follow It Theirscyle IS for !he [rarns. Our style over here./ couldn'[ see ony orthor. Sluffberng put on arra", ·CQ>..ISe Idon't think I[ would rod:.For awall. yes. alright But 10 rode on a rran the pJeCe needsmovement Most ofthe EnglISh pteCes cb1'[ got nomovemenror oJ/. It's e!hepece IS leon,'- rrselfaport 'Mlen Isee p.ecescr.AmerICOt'l U"0I/'lS. !heyJUSt look "'-e !hey're meo'lt ro be there.theyJUS[ go WIth i.he (fOIn. Walls OOn'[ go anywhere. so (orowofI, JA'U could do anything,
New Yark wnters are proud oftI'e history ofthedevelopment ofgr.lrr'" style. of the "'deals they have "'d toface to palnt trains and of the harstYless of II'Y'IE!r-oty life thateach has had to come to terms WIth. Therefore. although theyare flanered by the admIration. they VlE!w with acertainambivalence their counterparts In other places, those youthsImpelled by their example to palOt.. The)' are pleased that whatthey have created is a source of inspl1"ation to so many others.but they complain 'that theseo~have not palC! thetr dues. ..::Wnters n CaJiioma and El.ft""OPe have been able to study andcopy advanced styles that evolved ., New Yark overa penodof fifteen years.
One of the key figures in the development of New Yorkgraffiti art was Phase 2. He and a few of his contemporariesoriginated the forms and made the styIlSOC inventions that havedefII"'oed spraycanart up to the present time. Phase IS still an artIStand his current work has passed beyond the narrow formalboundanes oftraditlonal graffiti, whIe stiI retaining Its freshimprovisattonal cNracter.1-!e has exnbrted hls INOrk n Europeand has been able to observe at first hand the rmpaa that thenew art form has had on people outSIde New York. Phase ISnot surpnsed that others have been inspired b), New Yo~rk
graffrti style and that they want to imitate and borrow from'rt.He told us:
When Iwern to SWItZerland they were checkng out what I wasOOingond rryi1g to emmce it ood l6e It n theKwork.lts~normal, W'hen ~'(e "rosomeUing oodyou see somebodychng I[ differently, you're etthergcJI'lg [0 1MOVOte. ekDorate onit. Ofjust toke the thing anddoit the same way. That·s thedifference berween being aeotiYe and imaginative andjustbeing there. But I think. rfyoujusr hod a bunch ofguys that weredeveloping oJJ these new tedvl~ end there was nobody [0
go out enddo !he e<penmenlS.lOO would""""""'" ex>ytf>ng.
8-801by~(Hankatull).I'''
Wmers in smaJI towns around theworld ha"" had spedaI problems not
experierKed by.......riters i1New YO<k. whe,e bytheU
""""""'" "",ben they easiyoverwheIrned allaw-enfortementand deacwlgefIons foe so long.
In IlrUl( WestGermany, theeewas asolitaryartist named ICrlg Pi1who had a1ceady beg\.n to dopieces when he met Lee. W'ho wasvisiting Kassel as an ex/'lbitorn theDocumenta st-ow. This early
entMiastvOited NewYori< WI 19&3and made M way to Hervy's studio, frle ..
Graffiti J-IaJI ofFame•Lee's walls on the L..owerEast Side. and thewriters' bench at I49th Street in the Bronx - an alternativeitinel:;aty for particular tourists. Upoo M retum to Germany,King Pin sent picttJres ofpieces he had done in BrUhl andoccasionally he would ask to be sentttings n return. like "fatcaps," that are hard to find in Europe. In one letter he wrote:
IheN<! been pickedupand""ested tet cops C>'>d, afthough theyrealized very weN UlOt I was King Pin, they let me only pay (orthe piece Idid thor. night Then they soid to me. "Dcx'l't do It
again. otherwise we will charge you (or oU the other things inWWT'l. "TOOt was definttefy the end o(mycareeras King Pin inour town, Ibelieve then ort has to be in the srreets and, ifit isnecessary, against the fa.N and not in a gallery or in the museumwhere nobody sees It ondwhere it has an economic undertone.
Whether it's done on trains or walls, spraycanart is a form ofpubflC art. Writers everrwhere concur in their desire to bypassthe system and the normal channels for exhibiting art that are.more often than not closed to them an)'Way, 3DofBristol, oneofthe flm writers in England, sees
the potentialo(the undergroundmovement andpeople doing"'""'thing ('" tl'err5eNes meedo(ft being ""'en from the top.You know. you live in aaty in which you realJyd:tn~ getanysayat all. You coukigo andJOin some kindo(committee andtryandgel tJ>ngs pas>edwhichrrigh'~ y<G'S and ft', o/IWOleredcbwn. To 0CUJ0I1ygo out andpoint the streets tome issome~ stiIllllConlll:llJc:t:tle.
3D has. been arrested several tJmes.. has had to pay fnes anddo penance na weekend wort<. program. Nevertt-eless. he iscorrmitt.ed to thrs chosen form ofseIf-expresslQ(l To the
10
Oppo,fte: Ve...,hn Bodt·uon. Ma"" (O....I.aN:I).I'"
objection that wntet"5 are forang their art on a public that hashad no say r.the maner, 3D answers that people are quitepowerless in any GlSe to do anything about the esthetics of theirsurroundtngs:
In the clty)'OU 00n'[ geraJY say 10 what theybuJd. You getsomecremea thor: does crappyglass buidr1gs Ofgray t:uiIcings.. Noone comes upandsays. We're buiIcfng thts.. do you ike it?Here's the ctCl'oW'lgS. we'tltoke a pol"So wtlyshouldl hcNe [0
explain what I001 I live n the city. rm0atllert Maybe 11 the'eyeso(dlts rownrmOO{ somportDnt becl1lSe Icb1'[ hcNealthat high 0 stDtLIS. as III das:s endjob. but I We here so I shouJdheN<! os cn.<h soy os C>'1)'CCle else. and that', -<>y /go out andpaint Cl1lSe Iwal[ [0 say something. endIdon't wont to be told
• when Icon 00 it
lnere are other writers who use different methods, whilethey share the same goal ofgetting their name and their art up inpublic. Dependingon the approach that a particular city maylake and its attitude toward graffrti, awriter may be able to playt:he system to M 0\IIIT"l advantage. Many cities have taken aconstn.Jetive approach to what they see as a problem. findingways and places (or writers to paint handing out grants forsupplies, and creatinga dimate ofcooperation with tOW1'I
councils and community businesses.In Wolverhampton. an industrial town outside Birmingham,
England, a politically astute young writer named Goldie realizedearly on that being the first in his community to ~piece,~ hewould be very vulnerable, As. he put it. "I would be cn.JShedt"lnthat way he saw that he would defeat his 0\f0II"I purpose, whichwas to get his name up before the public and to ensure itssurvival. With the help of his agent anassodate from his days asa member ofThe B-Boys, a professional breakingcrew, Goldiewas able to get the support ofthe administration of his l"oJsingproject to do pieces forthe school and day-<are center. Heenlisted the efforts ofseveral local businessmen to help furthert>s plans. When we visned Gold;", t>s agent Mart;>Jones, tookus around to the local branch ofthe Pittsburgh Plate GlassCompany, .......+.ere lab tedY1idans were helping Goldie by testr1gprimer"forcanvas that would be both shlny and f1exibIe norder[0 provide the optimum surface for spray paint. Next wevisited a pamcontractor who irMted Goldie to the factory tomOe M 0'NI1c~- a spraycan artist's dream
Gold;" says roe owes ......xn of t>s pI>Iosophy and t>snspirotion to BrYn aveteran writer from New York Citywhom1he now defoo:t G'eatec Lor<loo Co..OOt(GLq hadrM'r.ed to England to lecture kids on the flf"le art ofpa.i"rti1g
murals with an aerosol can. The \'NO young men (ound that theyhad a lot ll'l common. each one havinggrown up n the lmer crt)'
on elther SIde ofthe AtIantJc.Itwas because of the support of the GLC and other crty
councils that Goldie and London crev.-s such as The ChromeAngelz ana the lGA(Incredible Grove ArtIstS) were able todevote themselves to pamtlng legally. The GLC apparently sawIf) graffiti and Hlp Hop a chance to strengthen Its links Wlth thecommunity ofdISaffected young people.
At the Taberl'\Clcle Community Centre IfI London'sLadbrokeGrove, Jenny, a youth worker, told how the GLC hadgiven OC<X) (about $3CXXl)forthe youth club to buy spray paintfor the wrrters and track suits for the break-dancers. Sheexplained that:he kids at the center were all unemployed andrIVing on SOCial security payments of£23 (about $35) per week,and that they had all been In trouble and ~lnslde ~at least once: "IfyCN haven't gO! the money, you either steal it or you can't doanything: We iound the center bustling withaetMty and kids fullof plans for palntlng murals and preparing for an up-COffiIl"lg
break-danclrlg battle, Jenny said all this was 10 stnkngcontrast tothe prevalhng mood In the days before Hip Hop. ~I really haven'tgot the words to explatn the sort of depres:slOl"lll1 the lateseventies n the nner city, The first two years tworked here,absolutely nothing was happening _ pool. table temrs ... theapathy was really awful: Money from the GlC helped putSClr'ne' of the dreams the Iuds had WIthin their reach. But notevery COCTYTlUMY has confronted the graffiti nItS rTMdst 'Nlthsuchequanmny.
In an effort to eradicate graffiti from ItS walls, the atyofPh.1ade1pNa rormed an anti-graffiti taSk force and prOl'T'olSedwnters amnesty Ifthey would come out of the undergrOU"d
and give up bombing. As an ll"ICentJve. the task forte offeredopportuMJeS and CorrvnrsSlOnS to writers to paint legal murals(or the crt)', and at the same time rt vowed to prosecute 'Nlthseventy those who persISted in their errant ways. Many writersdeclCied to take advantage ofthe offer, and some have tendedto play both sides ofthe fence, joirungtask-force mural prOjeCtSby day and bombl/"lg the crtyWlth an alias by night Meanwh~le,the task force,lfI an excess of zeal, pu;: pressure on localmerchants to get rid of murals done in graffiti style on theirshops. even though these had been painted WIth theirpermissIOn,
The task force was apparently opposed not only to Illegalgraffrtl, but to the graffiti style as well. and they forbade the useofgraffltllettenngand B-Boy characters wnh their aggressiveposes and expressions on task-force-sponsored murals,thereby engaging In a kind ofideologlCai censorship, Paflsh, aPhiladelphia wrrter. told us:
They worn you to be like a robot We will tellyou what to do," There's no way that'sgomaworl<. N"., ifthey hod gone about<~ 0
different way and let wnte/s domurals. even cOn£rolJed murolsWlth Bode characters and nudesand on that kind0(aozySlu(f, .. /lutthey"",,',~, t>'»<l<>dydc>tl>at TheyI'"'won",," to po.;u!hex silly-""*"<fTU'"oG with patnt brushes. yOU
/o:ncN.t.1ke p«:wres o((arms. gr05Sb1d. . , .No kId!S gomo respea trot.Wnters are gonna~ nght over trot.
Char.net' bJ' spnen. .at>d Sketcfttt..... A"...~\.1986
Many parents It"I the UMed States dISapprove when theirchildren come home wearngB-Boy style clothes: KangoI hats.KazaJ frames. name-belts. and wKle-laced Pumas. They say It
makes them iook like hoodh.ms. The parents recogruze that tt.sstyle IS symbolIC of thetr children:s allegiance tostreet rUes andtheir assurppoonof a street personalnthe sameway. the taskforce. whICh represents adult maJnStream aJture and civlIauthonty, rejeas graffot>-styIe lenemgand fly-boy charoaersbecause they see In them an adherence to values that opposethetr own. Pansh continues:
Taskforce wouldn't like a name. B-Boycharocr.ers with hots tothe side. sneaks andguns and all that kind ofswff. 'catJSe theythrnk then kind ofswffmakes us seem lik'e civiolent cit)' ... likewmers cenvol the city. BlJt. the reason whywnters draw thosecharacters is to make )QJ look ~bod. - You know. its like 01
mage o('fC'KSelforo:!.ncn )00 were tNrldng about lha! rig!1, ...tf.'S hkeaswtement to onotherwrit.er. You're tI)Ylg to role tocnother wnter Wlthot.tt. really meeang twm. The way hesees Jo'OlXnome. hesees C'h7octers. he con pcrure t( ., his head.
The 'ask (orce soy when lI>eysee chaoaers.lI>ey(ee1"""""'e'OOn', urxJem1>nd lha!. ,00n1see (>1)'thing ><>Ier" about the_Its on there. I couldsee ifyou weredrawing abunchofpeoplekilling oneanother. but nobOOt draws anything like that. The BBoy character prOjeCtS the image for anotherwriter. He's nottfylflg [ostlOW thac [0 the oCy.
Nowthat these artIStS share aworldwide networkmessages. meanings. and symbols born ll"l New York surgeacross State lines and naoonaJ borders. IfNew York Citygenerates style. tf.'S because there IS so mxh competition. Withso manywrn~ in town. you really have to be great to benooced. And ltw'Igs move fast there because COrTYT'llJOlCation isso direct you do a pteCe and~ ofpeople: see It nghtaway.UnJess writers start hrttll"lg 747s ortranseormnental contanertrucks, they'll never re-create that Jltensrty on a worktwtdescale, But more and more, as contacts are made and pt-otosorculate, they understand that their audience ofpeers IS outthere. beyond the neghborhood. far from the yards, tunnels,and elevated lay-ups. '
At first. only the names ofthe New York kings were 1<nov-'ntownters rn the rest ofnworld, but gradually the flowofInformation IS begNYlU"lg to move bothways. and New Yorkersare becomrng aware ofwmers It"I other places vvtosetalent ismaking people SIt UP. and take nooce.
Ken, 8-Boy by Shame{H:anhanan),ltaS
•
BIle To copy another writer's style.&mb ProlifIC paintingor marking.......m-.
""-&ff Any means employed by the
aut:hontJes to ret'T'lO'Ve graffrti fromtraInS orwalls,Tobuff To erase.
8<n> To beat the competIbOnCop, (ot 0< sIonny Interchangeable
spraycan nozzles fm.ed to can to varywidthofspray,
Chillin' Being out there and betngcool.Crew loosely organlzed group of
wnters, also known as a clique,0.( Real~good (demed from·death")Down In, part of the group oractIOn (e.g"
-He's down WJth us)Fade To blend colors.Fresh Synonymouswrth de(Generic Synonymous WIth wd<.Go<>g "'"' One wnter covemganother
wnter's name W'lth his own.HIt TotagupanySll"facewi't:hpall1tor
""-I<.i/t To hit or borri:> excessrvely.I<R1g The best wrth the fT05t.
Nid< Synonymous wrth rock.P,ece A painting. short for masterp~
To pIece To paint graffiti.Piece book Awriter's sketchbookRack To steal.Rod The very best.Stup«J(i-esh Super1atNe~good,
Tog Awnter's StgNture with marker orspray pa;rn.
Toggi'tg up WnMg SlgNture WIthmarker or spray palnt.
ThrOtN-up A name painted quido:Jy wrthone layer ofspray paint and an outfne.
Toy lnexpenenced or lI"ICompetemwrner.
Up Describes awrner whose ....."rll.appears regularly.
Wok Substandard or Incorrect(derivedfrom Moutofwhack)
Wildstyfe A complicated constr\.lCtlOl"l of~terlOdong Ieners.
Wnter Practiooner of the an. ofgraffiti.
r.f:ON JII 'P'"'' ~ l.--LJ.1U I/f:;':-..L ,_.~. - .WHOSE MONUMENT WHERE: ..:.
Public Art in a Many-cultured SocietyBy JIIJi/h F. &rm
Using the term "public art" in an audienceof m;,ny cultures brings dirrerent images to mindin each of us. Some of us may envision the frescos and statues of the Italian renaissance,Christo's umbrellas, the murals of Los TresGrandes. Of the ritual sand paintings and tolc"lsof native peoples.
Public art may function like adobe formedfrom mud into the building blocks of a society;the purpose of any monument may be to investigate and reveal the memory contained in theground beneath a "public site", marking our pas·sages as a people and revisioning official history.The ultimate question for us to consider as publicartists as we cn:i\le the monuments of the '90's is:"What shall wc choose to mcmorializ.c of au''time1'"
Over my years as a puLJlic artist, I havebeen continually struck by the derivation of ourcommon legacy in public art from the "canon inthe park" concept. By that I mean that impulsethat caused us to drag out the rusty canons fromour past wars, polish them up, and put them inthe park for children to crawl over at the Sundaypicnic. The purpose was to evoke a time past inwhich the "splendid triumphs" and "struggles ofour forcfathers" veered the course of history.These expositions were meant to inspire an "awe"in us of the power of our great nation to assert itsmilitary will and triumph over enemies. Runningour hands over the polished brass we shUl'c in
u_.-.._· ...t-ll .... "' ... <...eu r"\V\-Hthese victories and become enlisted in their caus· iKlMI1- )1
es. Never mind if as people of color they were -( I 1£1not our forefathers, pr even if the triumphs wereorte-n over our own people.
!\. more contemporary example of the dis·play ~f canons in the park occurred during thepromenade of military weapons in the mall inWashington D.C. immediately aner theAmcrican·dcclarcd victory in the Culf War. In ,l'an exhibition prepared for American families inthe adjoining Smithsonian Hall of Science. agrandfather's voice (sounding remarkably likeRonald Reagan) soothed us into believing thewar was a giant, bloodless, computerized sciencedemonstration. The promenade and exhibitionasserted that young American men, their renexesadroitly trained in a video game culture, haddemonstrated our superiority as a nation overSaddam Hussein through on·screen strategic airstrikes.
FnJln the [,ron7.c geller,,1 on hurscbi'ck inthe pla7.a (where the public's view is the underside of galloping hooves of the triumphantsoldier's horse) to its more contemporary corpo·rate versions. we lind examples of public art inthe service of dominance. The intention of theseworks goes beyond creating giant decorativepigeon pedcstals. By their daily presence in ourlives they mean to persuade us of the justice ofthe acts they represent.
Just as the power of the state is embodiedin these monument's, the power of the corporatesponsor is embodied in sculptures standing infront of towering office buildings. These grandworks. too, inspire a sense of "awe" in the viewer.both by their scale and by the (presumed) impor-
. --
tance of the artisl. H·en~:, public art is unashamedin its intention 10 mediilte between the public' andthe developer. In a "'thi;'gs go better with publicart" mentality, the bitter pills'of develop,,!ent aredelivered to the public. While percent for artrequirements have been heralded as a positivespin-off of'"growth" - developers' creation ofamenable public places -every inch of urbanspace is swallowed by skyscrapers and privatizedinto the non-publidpublic space of shoppingmalls and corporate plazas. .In these dev'elop- .ments, the "public" is predetermined in order toseleci out undesirables: the homeless, vendors,adolescent youth, the urban poor and people ofcolor. Planters, benches, and other "public amenities" are suspect for their potential hazards aspulJlic loitering places. With lhe loss of6ola"icaJ,IIWl.'tlJtV, j'euJei1t,,'t',•• and all things familiar. ethnicpeople disappear to another corner of the city,reinlorcing segregation.
Los Angeles provides the clearest examples of development as a colonizing anddisplacement tool of ethnic communities. PublicArt now plays a supportive role in these agendas.Infamous developments abound in the publicrecord. if not in our consciousness: DodgerStadium, which displaced a Ilisloric Mexican&immunity; the llunker Hill development (nowhome to the premier arts center, THE MUSICCENTER). which displaced another; and the lesswell-documented history of the intersection offour major freeways through east Los Angeles'sChicano communities. One of Ihe most catastrophic consequences was the concreting of theentire Lao Ancel.. River (on wIUc:h the cily wu
•
bon cutting ceremony. Hailed by the developersas a great symbol of "unity," the juxtaposition ofartifacts stood in for contact between real peoplein a city terri lied of the majority of its citizens.
Tragically. the $500.000.00 spent on thissingle work was more money than the whole ofthe city's budget to fund public murals. Thesemurals are painted by ethnic artists who workwithin Los Angeles's diverse Chinese, AfricanAmerican, J{orean, Thai; Chicano, and CentralAmerican neighborhoods and who employ I~alyouth as apprentices. Komar and Melamid's pieceprovides one local example of a growing nationalphenomena in public art, in which decontextedsymbols taken from a culture falsely representthe actual presence of that culture in the artifactand in tile crealive p...ocess urils generation.
No single view of public space and the artth~t accompanies it will work in a metropolis ofmultiple perspectives. While competition forpublic space grows daily, cultural communitiescall for its use in dramatically differenl ways.What comes into question is the very differentsensibility of order and beauty operating in different cultures.
When Chris'to, for example, looked for thelirst time at the EI Tejon Pass (badger inSpanish), he saw the potential to create beautyby imposing a personal and individual vision onthe landscape: yellow umbrellas Auttering in thewind, marching up the sides of rolling hills. Theland became his canvas, a backdrop for his per-sonal aesthetic vision. .
Native people might look at the samelandscape with a very different idea of beauty,one without imposition: rooted in a vision of a
boom. The river, now atrophied into hardenedarteries, created a giant scar across the land, rur~
.ther dlviding an already divided city.This scar metaphor inspired my own half
mile long mural on the history of ethnic peoples.painted in the Los Angeles river conduit. Just as
. young Chicanos tattoo battle scars on their bodies, the Great Wall of L.A. i. a tattoo on a scar,w~ere the river once ran. The mural's imageryun~~ven the buried stories of ethnic populationsthat, make up the labor force which built our city,state and nation. Through community and par.ticip~tdialogues, the nine-year process ofpaintJ,;g this half-mile work models, in its contentand i'n the process of its production, new possibil- .ities of interracial connections.
Public art can become a false ameliorationby beauty, as in Komar and Melamid's work inFirst Interstate Bank in downtown Los Angeles,where two New York-based Russian artists wereselected to decorate the new skyscraper's lobby.To represent multiculturalism in Los Angeles, the
•artists £irst chose the angels from Our Lady ofthe Angeles of Porciuncula's chapel in Italy.The.,r then tacked ethnic emblems onto theEuropean angels, "borrowing" the preColumbian feathered serpent Quetzalcoatl fromthe Aztecs, the crowned mahogany headpiecefrom Nigerian masks, and the eagles' wings fromour diverse native peoples to stand as "emblemsof a variety of cultures." These symbols replacedthe real voices of people of color in a city torn bythe greatest civil disorder in the U.S. in this century. At the dedication of the work. which tookplace ahortlY after the rebellion, Blac:k and Latino
perfect order exemplified in nature itselr. integralto a spiritual life grounded in place. From thisview, nature is not to be lampere<1 wilh; if a plantis taken an alTering is made in return.Rti:hard RllY Il7b,imall, a lIatil~ Ameni.·dll arlt:'/, ,'m'J,"'&itttlificn/ly CObGlil'e. -I am lbe altm"" IIw/~cu/~",
hll1t1{J, a"t} iJlIJl tJ/my dU('~,'/",,,, - 11111 "" h,:,,,"-y 6uI t'~ acm,ltiuui'.9 petlple. II7t- (k,'rri6~ tJilr rulilirt t'" d rin.-ItJ~which we mea" Ihtll it I:' tUl tillt..,jml<r1 ll'h(,f~, .... II ';'liJCcti'tle tifmy c"llllmllm(}il,~"",""d (.,~,.itllr~" Ihillalltlliv me 10 be tl h"mtUl pe,.,Itlll. Ow; tUU) my 11'''y tI/6etil.9 human t:, Itl 6e a 1:aquipe"""", ",'1 /I"/y huma" If'httmllllJ, hllllmmtUl Itl "/~r/tlmlJ tf1!1e ':Maintaining a relationship with the dust of one'sancestors requires a generational relationshipwith the land and a rcspectfullrentment of otherlife found on the land. 0.· pel'haps native peoplescould not think of the area without recalling FortTejon. One of the first California Indian reservations established near this site in the TehachapiMountains was placed there to "protect" theIndians who had been rounded up from variousneighboring peoples, most of whose cultures havebeen destroyed.
These are two different aeslhelic sensibilities, as divergent as the 19th Century Englishmanicured garden and the rugged natural NewMexican landscape of the Sangre de Cristomountains.
Perhaps a more extreme example ofChristo's idea, and an even less benign notion, isthe concept that landscape untouched by humansis "undeveloped land". This continues the longline of thought, best described simply as "manover nature," on which this country was founded.This ideology has led us to accept clear-cutting
boy. formulated over a long mentorship, was thathe would not quit school again withoul talking tome first. I arrived to find the principal toweringover the young boy, whose head was held in thedefiant manner I had seen ovec and over in mywork with the gangs. This sta~~e, reminiscent ofa warrior, the kids call unceremoniously. "holdingyour mug"; it is about maintaining dignity inadverse circumstances. The principal said withtotal frustration, "You've written on the school'swalls and you simply do not have respect forother people's property. Tell me, would you dothis in your own house?" I couldn't help butsmile at his admonition, in spite of the seriousnessof the situation. The boy was an imporlant graffiti artist in. town and indeed, having visited hishouse, 1 had seen the walls of his room whereevery inch was intricately covered with the boy'swritings. What was operating was two differentnotions of beauty and order. Obviously therewas a dispute about ownership of the school aswell. The boy's opinion was that he had aesthetically improved the property, not destroyed it.
This is a time when the conditions of ourcommunities are worse than those that precipitated the civil rights activism of the 60's and 70's.52% of all African American children are livingin poverty; 42% of all Latino children are livingin poverty. Drop-out rates exceed graduationrates in the African American and Latino comml1niti~s. What then is the role of a sociallyrespon~ible public artist? As wealth and povertyare increasingly polarized in our society, face-toface confrontations occur more often in ourllrhl'tn environments, frequently with catastrophic
first-growth foresl's in tile Northwest and killingrivers with concrete conduits as a method offlood control. These ideas lind their parallel in •the late-modernist and post-modernist cult of theexalted individual, in which an individual's visionand originality hold the highest value. As a soli-~,
tary creator, the artist values self expression and"artistic freedom;" i.e. separateness rather thanconnectedness. He is therefore responsible onlyto himself: rather than to a shared vision, or hefails to I'econcile the individual to the whole.
During Christo's project, the nature of theTejon pass assert'ed itself. It is a place known tolocals for its high winds; t~ey uprooted anumbrella planted in tile ground, causing the tragic death of a woman who had come to see thework. Christo said, "My project i~it'ates reallife." -
IWhy I:' illl(lIII(I,',1l1Jl~fi"'l'ublti: (11'11" d" IIU"'~
thdll timillte lift? P1l61ti: drt 1',IIIIJ I'e i",)~pdl'tlble Immlhe Jaily lif~ 4 the pe'Jpl~ fi". "'iNm i/ll'll,) .:rtd/~i).
lkloef,'peJ II' lil~ hamwlUim.,(y lillix pllhlti: "pace, iled"M htll'(" fimdlim wilhtillhe ('lmulII/JUly 111ft) el'enIm",iik 1,(1I1l~'fi"'llxli'I't"i'~'"
J couldn't help musing about what a differentproject it would have been had rhe beautiful yellow umbrellas marched through Skid Row whereLos Angeles's 140,000 homeless lie in the rain.Art cannot any longer be tied to the non-functionalist state to which it was relegated bymoderni~, and post modernism in an "art forarts sake l 'tyranny. Would not Christo's projecthave been even more beautiful sheltering peoplein need of sheller. the gesture an important state-
CN • .. • to
ties of color. Here Chicano murals have providedthe leadership for other communities to use theform to assert their presence and articulate atleast in part their issues. Today in our city worksappear that speak.of a range of concerns, fromchildren caught in the cross-fire of gang warfarein the barrios of Sylmar. to the hidden problem ofAIDS in the African American community ofSouth Central. to the struggles of assimilationand immigration in the Korean community.These works have become monuments that serveas a community's memory. The generations thatfollowed the mural movement. growing up inneighborhoods where murals dotted the landscape. have been influenced by these works.
With few avenues open to training and artproduction, graffiti art has become anothermethod of resistance to privatized public space,especially for the youth. As the first visual artform developed by youth culture, it has becomethe focus of increasingly severe reprisals byauthorities that spend 52 million dollars annuallyin the county of [,.os Angeles to,abate what theyrefer to as the "skin cancer of society". It is noaccident that the proliferation of graffiti is concurrent with the reduction of all youth recreationand arts programs in the schools. My work incommunities producing public artworks has putme into contact with many of these youth.
On one occasion. I was called to a localhigh school afte~ having convinced one of.theyouths working on the Great Wall project that heshould return to school.' The urgent call fromthe boy in the principal's office said, .. I need you
n _ L_~__:_1., ,,, "' I· nin". In ITpt
Por Ihe Mexican sensihility (at least inpart), public al'l is besl manifested by the work ofMexican arl'ist David Alfaro Siquero5, e.g.• a1936 mural in Los Angeles's historic Olvera Sr.Obscured for decades by our city fathers of tileJ930's, who had it painted over because of itsportrayal of the plight of chicanos in California,the mural is currenlly in restoration. Siqueros
.• depicted a mc"ftzlJ shooting at the American eagleand a crucified Chicano as the central figures.
. While this mu.·al is becoming museo-fied todaywith millions of dollars provided by the Gettyf'tundation for its preservation and re-presenta.don to the public. it is important to recognize thatthe same images would most likely be censoredonfos Angeles' streels today. The subject maileris a•..relevant now, seventy years later as it wasthen. Contemporary muralists meet with the
.. 11' . I' hsame 0 ICla reSistance to I e portrayal of domi-nation and resiSI'ance by Los Angeles' Latino orother populations of color as did Siqueros in193~ Despite these struggles, in many communities murals became the only interventions intopublic spaces that articulated the presence of ethnicity. Architecture and planning have done lillieto accommodate communilies of color in our city.
As competition for public space hasgrown, public art policies have become calciliedand increasingly bureaucrat·ic. Art that is sane.tioned has lost the political bite of earlier 70'smurals. Nevertheless, a rich legacy of murals hasbeen produced since"America Tropical" was·painted by the maestro in Olvera street.
.Thousand. ofpublic murals in places where pea--~.. and won. La......... 'LIe ia bJie
Judith F. Baca is an artist, writer and activist.She is a founder of the Social and Public ArtResource Cenler (SPARC).
•
,
abont their visions of and for their neighborhoods. Finding a place for thos~ ideas inmonuments that rise from below is the maltchallenging task for public artists in this time.
'. I The Great Wall, focusing on the history ofethnic people in America, has employed over 350young artists. It .was PAinted over a feven year period
:)rmm 1976·1983 and i.slated foradditional segments on the 1970's and 80'sby 1995.
\
"
down on the side of weallh and dominance inthat confrontation? How can we judge thesuccess of our public artwork and as artists avoidaiding colonization? If we choose not to look toour victories and advancements in terms of tri.umphs over nations or neighborhoods, what ...monuments shall we build? How can we assist increating a public memory for a many~cullured
society? Whose story shall we tell?Of greatest interest to me is the invention
of systems of voice-giving to those left withoutvenues in which to speak. Socially responsibleartists from ma"ginalized communities have aparticular responsibility to articulate those condi~
tions and provide a catalyst for change. sinceperceptions of us as individuals are tied to theconditions of our communities in a raciallyunsophisticated society. We cannot escape iteven when we choose to try. We are made of the"blood and dust" of our ancestors in a "continuing History." Being a catalyst for change willchanse us also. We can evaluate ourselves bythe processes we choose. not simply by the artobjects we create. Is the work a private act in apublic space? 'It is the focus on the object devoidof the creator that has brought us to a moralbankruptcy in Eurpcentric modernism andpostmodernist traditions.
For me, what represents something deeper anetmore hopeful about the future of ourethnically and clan-divided cities are partner.ships that move well beyond the traditionalnotions ofarchitect and artist. These partnershipsinclude artiola and aoc:ial acrvice provKlen. artistsaDd en tal ...m.a.aDd~aDd com-
r!.~f1._ :jfteAJfL es FOPfB:--LINro1Wt3tv nO"l.5 _. - ......_....__.... ,uS.".• :; ~_ ..( ... _i ....~_•.••~ ~"" ...... ~ •• , ..,,~ "_~" .", .....""-.?~
Ad.~ LA <<< I· r· ("'/\"(..( 6(J, "U~N R(jU("'y(UN5"
'6l10l.l) 6) "'10CJf l-A ;A,,",!- Ir;~ J1Jo Ztt ,lqCf'1WRITINGS ON THE BORDERJ If in the Reagan era Los Angeles was
The Hidden Politics of Graffitihy Bm'Jlty J. A'acdrmalJ
Despite the great cultura.mirage sponsored by the people inpower, everywhere we look wefind pluralism, crisis, and non-syn.'chronicity. The so-calleddominant culture is no longerdominant. Dominant culture is ameta-reality that only exists in thevirtual space of the mainstreammedia and spaces of the monocultural institutions.
Today, if there is a dominant culture, it is border culture.And those who still haven'tcroaaed a border will do it verysoon.
-Guillermo G6mez-Peiia l
[T]he Borderlands are physicallypresent wherever two or more culture. edge each other, wherepeople of different races occupythe same lerritory, where under.lower, middle and upper c1usestouch, where the space betweentwo individuals shrinks with intimacy.
-Gloria Anzaldua'
becoming the stage on which the capitalist worldwould play its drama. it was also a period inwhich gl"afTiti began 10 work its way onto diversesurfaces throughout Los Angeles' urban space.While graOili was conlined originally to nei.borhoods riven by gang activity and conflict. andserved as territorial markers. gang rosters and hitlists, it now appears in almost every area, irrespective of the "genteel" and proper character ofthe space. In this period, we encounler the emergence of LA's "graffili movement.Hwhoseparticipants engage in a fonn of symbolic violence by disseminating their insignia or "lag"throughout the urban landscape. While mosl ofthese tags are simple marks, quickly inscrihed onIhe intended surface (buses, trains, billboards,fences, walls), others are more elaborate in theirdesign and color. The Inlier works are knownwilhin graffiti movement as "piece••Hand areconsidered Ihe highest form of Ihe craft (Ihis isdue not only to their more "aesthetic" style, butalso to the risks incurred by spending so muchtime in its creation). Yet. from the most basictag 10 the most inlricate "piece," the subject isalmost generally the same: the tagger's 110m tie
.!/lItrre. Their monickers are invented and strik..ing, havins some personal significance to thetagger and representing dear stalemenls ofbravado and deliance: "Never." "Fana. H "Razor, H
"Vector," uEmpir.e,~. :Sin, H HHex," "Omega,"-~I --I~ "Hn I ..I'e any, 'rnme()~e, ,"enr.
Witllin the gra'rtiti movement, writingbecomes a ritual of compel it ion. with each lag orpiece representing a statement of personal victory
individual competition, many writers are linkedup with larger groups, called crews, and thusgraffiti writing becomes also a way to gain notori~
ety and status for the group (some of the morefamous grafliti crews in LA include "l{ey ToSuccess," "Kill To Succeed - Second To None.""West Coast Artists," "Criminally MindedArtists," "Back Together Again," "Create ToDevastate," "Loyal To None," and "Kids GoneBad'}.J Moreover, a "well-done" tag (whichwould imply one that is well-placed in publicview, as well as unique and interesting) is notnecessarily the goal; rather, it is the repetiti.on ofsuch a lag across a diverse range of environs, thecontinual social visibility of its form.
, While graffiti writing has become anubiquitous practice that is 90n~ increasingly byyouth from all class and ethnic backgrounds, ithas a particular lure for inner city youth, whoselives, though replete with desires of status andfame, are limited by the harsh realities of theirurban environ. Moreover, while writing is nolonger unique to Latino commu,:,ities, LA's firstgraffiti crew ("[4 Bomb Squadj came out of thebarrios of PiC:O-Upion and East 'LA: areas with along history of graffiti writing by Latino gangsand .&0 established practice of community muralsthat flowered most spectacularly in the 1960s and1970s,~ Indeed, some of the most important wril~ersjoday are Latino youth.
At first sight, gralliti writing seems 10 bejust another youth subculture, an attempt to wileaway the lost hours of adolescence and earlyadulthood. But. we mUlt look a little deeper at 'wb,y lhia partic:ular form OfaclMt;y ia__
can see graffiti writing as a form of IJllrlkrwni,ilg-an attempt to consti.tute a sense of mean·ing and identity within the spatial bifurcationsestablished by socioeconomic, disciplinary andmonocultural practices-in which participantscontinually contest and renegotiate the everydayrepressions, lost ideals, and entrenched divisionsthat constitute urban space in Los Angeles, in the
~; process providing an intimation of a utopian project of reconciliation (a true multicultural
.' process) and human fulfillment. In interpretinggran"iti this way, we are not attempting to glorify
J\its existence (it is neither a defining cultural prac-,. r' - . . .. lice 0 LOAtmo COmmUnities, nor a necessaryharbinger of much needed political change), buti~tead elucidate how ita practice implies a wholesetpf dilemmas facing groups.in Loa Apgel£s.What this implies is that while the dominant culture may see graffiti as terrifYing signs of urban•decay and rampant vandalism, there are otherissues involved in this ongoing symbolic process:it sisnifies a hidden politics ofgenerally marginalized-groups in Los Angeles to live their lives withhuman dignity and to be part of a radical democratic practice of constituting t\rnerican life. AsChaz Boj6rquez and Luis ltuarte - two LAartists. involved with graffiti turned "organicintellectuals" -argue: "We truly believe that creativity is a cornerstone of good citizenship. Evennow, graffiti is preparing the social arena for theredemption of humanity.'"
Drawing lessons from mainstream cui..ture. Latinoyouth who "write".heir signaturesfor fame reappropriate monocultural lpaca u...... of'beir ........nd --.
from pain and anger, needing self-fulfillment,with an obsessive burning desire to validate theirself-esteem. Through graffiti. our youth are notdestroying the city, but deforming its walls toexpose its social faults.'" Not only do granitiwriters deform public space to show the "socialfaults" in which they must survive, but in Iheprocess they constitute themselves as active subjects in the making of citY life, a process that istoo often denied in other ways. Self-formation,as Juan Flores and George Ytidice remind us:
is constituted by everyday aesthetic practices such as the creativelinguistic practices of Latinoswhich in the current historicaljuncture do not amount to subalternity, but rather 10 a way ofprying open the larger culture, by
, making its physical, institutionaland metaphorical borders indeterminate, precisely what thedominant culture fears.'
Yet, what is represented in I"heir intricateinsignias is not just the attempt by grafliti writersto gain a sense of identity, but also the crcation ofareas of individual expression, a revitalization ofeveryday life. This is particularly Ihe case forthose writers who engage in creating "pieces"which are more or less elaborate forays in expressive creativity. From this perspective,' then,graffiti writing intimates the possibility of transforming the urban environment for theexpres&ion ofhurnan needs (for instance. the cre"finn nf On",'!; nwn life). and in lurn represents a
practice that is implicitly linked to a larger vi.ionof political and social transformation. Yet, as anygraffiti writcr knows, such a liberating practice(if we may call it that) is always brief andmomentary. The walls will he scrubbed ancl theauthorities will be in pursuit. Having to work ona "canvas" that is already occur~1 byauthorilY·they must take any opportunity they can in their"bombing" missions. When Michel de Certeaudescribed what he meant by a "tactic." a form ofeveryday resistance in urban life, he could nothave described better the way graffiti poses itspolitical subversion:
It operates in isolated actions,blow by blow. It takes aelvantageof'opportunities' and depends onthem, being without any basewhere it could stockpile its winnings, build up its own position,and plan raids. What il wins it cannot keep.... It must vigilantlymake use or the cracks thai pal'tic- .ular conjunctions open in thesurveillance of the proprietarypowers. It poaches within them.It creates surprises in them. It canbe where it is least expected.'
To discuss graffiti in such terms is not toromanticize the possibilities that it opens for largescale politic~1 struggles-it is a displaced form ofresistance and liberation thai is nol only contra~
dictory in its·appropriation of the dominantculture's code, but also easily demonized given itstransgressive quality. In terms of this latter issue,
individual compel'ition. many writers are linkedup with larger groups. called crews. and Ihusgraffiti writing becomes also a way to gain notori~
ety and status for the group (some of the morefamous graniti crews in LA include "l{ey ToSuccess," "Kill To Succeed-Second To None,""West Coast Artists," "Criminally MindedArtists," "Back Together Again." "Create ToDevastate," "Loyal To None." and "Kids GoneBad'}.J Moreover, a "well-done" tag (whichwould imply one that is well-placed in publicview, as well as unique and interesting) is notnecessarily the goal; rather. it is the repetiti.on ofsuch a lag across a diverse range of environs, Ihecontinual social visibility of its form.
. While graffiti writing has become anubiquitous practice that is done increasingly byyouth from all class and ethnic backgrounds, ithas a particular lure for inner city youth. whoselives, though replete with desires of status andfame, are limited by the harsh realities of theirurban environ. Moreover, while writing is nolonger unique to LariQo commu~ities. LA's firstgraffiti crew ("14 Bomb Squadj Came out of thebarrios ofPic"o-Uoion and East 'LA, areas with along history of graffiti writing by Latino gangsand an established practice of community muralsthat flowered most spectacularly in the 19608 and1970s.4 Indeed. some of the most important writersjoday are Latino youth.
At first sight. gralliti writing seems to bejust another youth subculture. an attempt to wileaway the lost hours of adolescence and earlyadulthood. But, we mUlt look a little deeper at "
lhia r..r.~'~
can see graffiti writing as a form of IMr,krlI'ril,ilg-an attempt to consti.tute a sense of meaning and identity within the spatial bifurcationsestablished by socioeconomic, disciplinary andmonocultural practices-in which participantscontinually contest and renegotiate the everydayrepressions. lost ideals, and entrenched divisionsthat constitute urban space in Los Angeles. in the
~, process providing an intimation of a utopian project of reconciliation (a true multiculturalprocess) and human fuHillment. In interpretinggraniti this way. we are not attempting to glorify
!\its existence (it is neither a defining cultural prac: 'tice of Latino communities. nor a necessary
harbinger of much needed political change). buti~tead elucidate how its practice implies a wholesetpf dilemmas facing groups"n Lot Apgel£s.What this implies is that while the dominant culture may see graffiti as terrifYing signs of urbandecay and rampant vandalism. there are otherissues involved in this ongoing symbolic process:it sis-nilles a hidden politics of generally marginalized-groups in Los Angeles to live their lives withhuman dignity and to be part of a radical democratic practice of constituting !\rnerican life. AsChaz Boj6rquez and Luis huarte-two LAartists involved with graffiti turned "organicintelle~tuaI8"-argue: "We truly believe that creativity is a cornerstone of good citizensllip. Evennow, graffiti is preparing the social arena for theredemption of humanity...'
Drawing lessons from mainstream cui..ture, Latinoyouth who "write" their signaturesfor fame reappropriate monoculturaJ IpACU U
•
from pain and anger, needing self-fulfillment.with an obsessive burning desire to validate theirself-esteem. Through graffiti. our youth are notdestroying the city, but deforming its walls toexpose its social faults.'" Not only do graffitiwriters deform public space to show the "socialfaults" in which they must survive, but in theprocess they constitute themselves as active subjects in the making of city life. a process that istoo often denied in other ways. Self-formation,as Juan Flores and George Yudice remind us:
is constituted by everyday aesthetic practices such as the creativelinguistic practices of Latinoswhich in the current historicaljuncture do not amount to subalternity, but rather to a way ofprying open the larger culture, by
" making its physical. institutionaland metaphorical borders indeterminate. precisely what thedominant culture fears.'
Yet, what is represented in their intricateinsignias is not just the attempt by granili writersto gain a sense of identity, but also the creation ofareas of individual expression, a revitalization ofeveryday life. This is particularly the case forthose writers who engage in creating "pieces"which are more or less elaborate forays in expressive creativity. From this perspective; then.graffiti writing intimates the possibility of transforming the urban environment for theexpres14ion of human needs (for instance, the cre·ation of one's own life), and in turn represents a
practice that is implicitly Hnked 10 a larger vi.ionof political and social transformation. Yel, as anygraffiti wI·iter knows. s\.lch a liberating practice(if we may call it that) is always brief andmomentary. The walls will he scrubbed and theauthorities will be in pursuit. Having to work ona "canvas" that is already occupiJtl by authority.they must take any opportunity they can in their"bombing" missions. \Vhen Michel de Ccrteaudescrioed what he meant by a "tactic," a form ofeveryday resistance in urban life, he could nothave described better the way graffiti poses itspolitical subversion:
It operates in isolated actions.blow by blow. It takes advantageof 'opportunities' and depends onthem, being without any basewhere it could slockpile its winnings. build up its own position,and plan raids. What it wins it cannot keep.... It must vlgilantlymake use of the cracks Ihat particular conjunctions open in thesurveillance of the proprietarypowers. It poaches within them.It creates surprises in them. It canbe where it is least expected.'
To discuss graffiti in such terms is not toromanticize the possibilities that it opens for largescale political struggles - it is a displaced form ofresistance and liberat"ion that is not only contradictory in it~"appropriation of the dominantculture's code, but also easily demonized given itstransgressive quality. In terms of this latter issue,
Community Murals: The People's Art (Philadelphia:The Art Alliance Press, 1984), pp. 109-115, for a discussion of the community mural movement in LosAngeles.
5 Cha2 lloj6rquu and Luis Ituarte, "SocialAbstraction: The Phenomenon of Craffiti,"
6 illid.
7 Juan Flores and George Yudice, ~LivingBorderslGuscando America: Languages of LalinoSelf-Formation," Social Text, 24, pp. 73·74.
8 Michel de Certeau, The practice of Eyervdav Life(Berkeley: Universily of California Press,1984). p.37.
9 Alan Citron, "Upscale Youths Making Own Markswith Graffiti," Los Anceles Times. April 24, Section I,p.3.
10 Ron Russell. "Foes of Graffiti Uncover Few Signsof Success," Los Anceles Vme., December 10, 1989.Section B, pp. I, 2; Sheryl Stolberg, "Engulfed in aSea of Spray Paint," Los AOides 'urnes, January 8,1992. Section A, pp. I. 12, 13.
I J Cornu.Pena, "The Multicultural Paradigm,"p.49.
,,
,...-'.
graffili writers have been labeled as "gangwannabees." "villains," and purveyors of urbandecline. all of which help to reinlorcc Ihe threatthat citizens feel when confronting these strangewrilings.' Wilh Ihe crealion of such programs asOperation Clean Sweep (which coordinatesmuch of Los Angeles's gralliti eradication
efforts). increased expenditures on removal, a
more highly ol'ganized police effort, and harsherpenalties. the city has increased its energies toslop the spread ol'these url>an scrawls. lO Yel,sucb a;ttempts to eradicate graniti by "criminalizing" the practice-a modus operandi that isincreasingly tlsed by political authorities to dealwith the panoply of social and urban problemsfacing the United Stares-do not get at theunderlying issues thai are implied in graniti writ
ing: it is the sublimated expression bymarginalized groups of their need to gain a senseof meaning and efficacy.
More constructive responses have comef"om various coml1lunily groups in their atlemplsto provide oullets-mural walls, storefronts,
community cenlel's-Ior graniti wl·iting. AI thevery least, such actions recognize the validity or
graffili as a form of community art. Moreover'jas
this exhibition clearly signilles. gralliti hasincreasingly be~me recognized as a viable "artform," moving o'ut or the slreet and inlo the galleries. Many wl·iters see themselves as "artists,"spending long hours wilh sketch books preparingtheir complex pieces. and taking pl"itle in thecompletion of their elaborate works. Yel, irrespective of the wishes of the gallery ownc,'S amIthe dominant culture, graffiti may never be fullyincorporated into the sanctioned cultural art
spaces, given Ihat ils pra.ctices are so intel"twinedwith Ihe transgressive desil"e of the "prank," andthat its hidden politics speaks to issues beyondIhe while walls of lhe museum. As an attempt toactively conslruct urban life and gain a sense ofself-legitimation, gralliti may ironically be too"avant-garde" 1'01' the art establishment. As
G6mez-Peiia argues:
To be avant garde means to be able to cross the
border; to go back anti lorth between art and
politically significant territory.. ,. To be avant
garde means to perform and exhibit in the bothartistic and non-artistic contexts: to operate in
the world. not just the art world. 1I
Bn:ldley J. Mactl?naJd teaches political theory atColorado Slale University. He is co-editor of theintel"disciplinary journal Stri\tc&,ies.
I Cuillermo Comc2-Pena, "Tbe MuhiculturalParadigm," in Warrior for Grjn;,o5lcoika (St. Paul:Craywolf Press, 1993), pp. 46-47.
2 Gloria Anzaldua, Docderli!odsll"a Frontera; TheNew MCSliu (San Francisco: Spinslers/Aunl LutePress, 1987), Preface.
3 See Alan Cilron, ;'Upscalc Youth Making ownMMks widl CraOili," Los t\ol:e1es TImes, April 24,1988, Seclion I, pp. I, 3, 29; Ru~n Marlinu. "CoingUp in L. A.," in The Olher Side: NOles from tbe NewL, A.. Mexico Gil)'. and Oe,.yQod (New York: VintagePress. 1993).
. 4 See Martine2, "Coing Up in LA," p. 109, andWilliam Wilson, "A Look at Ihe Real American(;rilllili, "'I&s Ao,,"eh:s 'limes, May '27, Section I': pp.I, 4, ror discussions of Ihe relation of graffili to olherLalino cultural practices. Also, see Alan DarnCtI,
June 3. 1994
AND PUBLIC ART RESOURCE C E N T E R
Susan Hoffman238 Precita Ave.San Francisco. CA 94110
Dear Susan,
SPARe is very pleased that you will argue against the increasing criminalization of graffiti inSacramento and would like to assist you as much as we can.
Iwas appalled when Debra Padilla infonned me of the movement in Sacramento to make graffitia felony. Appalled. but not surprised; the growing hostility towards young people. panicularlyyoung men of color. fueled by the media. was boWld to manifest itself in a pettY and nonsensicallegislation such as this.
Enclosed. please find source materials which clarify what we at SPARe see as the only rationalapproach to graffiti art and tagging. First. there is a copy of the opening pages of James Prigoffand Henry Chalfant's Spravcan Art. one of the only serious historical examinations of graffiti asan art tonn. Street Writers fa copy of the introduction is included) is one of the earliest looksat the phenomenon of tagging. Two articles from Saber Es Poder. the ADOBE LA catalogue ofthe MOCA "Urban Revisions." discuss public space and graffiti. This show of current urban
. planning projectS. included ADOBE LA and SPARC as the only' planes fueled by an organic.truly community rooted vision of urban life. Also included are copies of various essays andarticles. from newspapefs and magazines. about alternative views on graffiti (including two piecesfrom a graffiti writer's magazine by graffiti writersl.
SPARC has recently developed a proposal for the California Policy Seminal's LatinaILatinoPolicy Research Program which I have also enclosed. We are proposing an analytical stUdy ofcurrent graffiti policies that will result in the fonnularion of new programs that address the issuesbehind graffiti. We hope to receive funding for this by 1995. SPARC has also formulated a planfor the city of Baldwin Park. called "Baldwin Spark." that will create job training and increaseneighborhood! self pride by providing young people with resources and outlets for constructiveexpression (resources which are virtually nonexistent due to the dwindling state. county and citycultural budgets).
685 Venice Boulevard. Vc:nic:c. Cmfomia 902911"10\ R?,-.QC;fil) J:ar 1"10\ R27.&717
-.....--
hi> ...... ia lhU _ ,,;Iooft .., ...ith.. c1......' .",.,.a. .it. n.M"" _L .he "'_ ... eM ...., .iUt ~JoIwoal' ~iu· ..._ ~a<;rmo <be at......... b" _tooK """ -lIoIi.. ::.I";~ ..,..w Ie~poin. \lfl Io.io !d' pal•. TI.c ..rili.. i. W ....... and eJo-wl~ -
'Ilolila' ia ~iIth I.. li.tle 1olI.l1. J y ..pLot 10 _ ........-.Ion' '''" 10.- lAlI. 1loic.L_~ __ __ -' WI OIl
tnft'JJ' alld .....1I lorlJOl alooon Ute alIlWf .. ,,,tI · 1 ........ 41ft I .......
J......f. """wri.;.., ~ ....U .....-rr bklt.·L. f._ .y n...1II1 W""_ ,..,. '" na....,."rod·~Lq_ ~If........... UM, I>uaI<a an<! ......It.. 0" 0 ......_ .... --.-.... M J""-ICooI."
I 1ocM;. a, tlIC' ...11 _e d<.cl)" ~n<I aWe ... loAtt odoer 011Job..o, ..tMIn Ule Iooye... of V"II"i. I 'oukl <I Illc _ ....lion -Jol.....y.....u Aaila _ .0..,,', 'I~",l- ....u '..,
),tw,ia
•Ill•,.....
No..... IIoe ....., ........ aDOlJon' _ tIoal rn.tI:
a.'" bc1 ........ tJw ,.. " a""C"~m....en 'Iw in',"'I. T.LfL. IGS,.... _l.hc "'id. _ 1100: w"u ""o<i U"'OI g."II.II} .....'" 0'" •• W.... ....u ,.......1U,;c_.l.n.
Thai ...11 lI.oci...,.., _ an<! I ..h." ,......oed IU MUd, *' ••atld.,>- .., ""'''0<1 II........r Ill, ul wri'"o; it _al.
"Tban- ..... _oy tl,;,o;_ u"', " .......Ii••:Cokln "-! .. AI,......y (;c,oI
Etlaat .. J-Oillocn "a rift IloI:A...........illoWiUicu '.,0
Other thi,... Iorp.. 10 rIO iolO pa".......:JobMy"'"J.inorolU ..W".ia tile aI.od. Q 191"
• r-kI _I.e _ , a' _ ,;- Ti<l "MI ~..........._ nc&.o..l ..
\1M Ionrt uoI tNl at aPOl ...... (_ f'C'"ha.. tilt _I u.e 1..M)c1a.i....a Mirt. _ UMI 0111)'.
n. ,_ tlIC' pliu MOo............ tk _ -n.r..... ddillc:ftw -ntlD( ",y c1w.1ope. ~r" "",.- __w__ -llilly U. Crul~ -J£fl.....,. Coul- IoIol ~• ..-II" .".....10 i.t .. .-... band. no. -.tia ....., IIoc W iaoai _ "~ • -.oy __,......" .ilI.N ...... -* ;. _T1Mft wriWtc ud dn.iftC In ....I~ ....... -'-cn~....-; ,.._ 71..,. _IC al.o tbiMp __.dIed __ t.Ioa ...
tJAt-<~ CQ.An=f7-; A,iVpR.£ \::>J;~ 'Sv', .-A. PQ. -tq I
.. ':..;pi.6-.c-·_·_'c-" =--~ ~::-~.
_~; v o~1\If.-l ..:.,,~.:c..- -;-.'- I-r-~'· , . -, -._
~_ ...J.~:--'-F-~-.:R'_' - -';7-
'~-'M1"-;" . .;c - --1. ' ...... _....: . .-," - L- -,..._ .. _._ .~ 1:. ..':'
c''--- :.. ~"" ''-:':'-''~~-.-:_'~-t..;:...:,:...=,:,,: '..~ '., . . 'I ~~ ~ •
-- _.... ~'I' • .',-..... _.~ • ...J • , _.'. • '_ .-. i"
'~~'::::'2R'-i',' -fj]~::~ ,~--T'.nr ",,-,; : '~\.. , ".:..., ~-~.._, ....' - '"- _., '. .' . " . ---" .
JcoIoDloJ a..dI';'_ iI; 14 ."'11 Il\C'O willi hi, ~t. Ihfft bto&bcT••nIl,_ o.iHcn in ...... .-w-W",,"ly ,.....0 -..0.. Kit,ht.or"-l.. 1.:0"year be uoppcd pin, ~. " prol>oWI ~'I -. "'wch .1iI·r~tC"" 10~ awhori ,.u ~ "·a. d<!'OWn 0<1..... j..n >d.....1alld pw iA a oct-l C · dall,. au.! tft>u,iofo;jU, <lio<..rl.onl .lIil.l,.,,·....here D4"t i. hanll, al. A'ec " ,he ....,ial """,iLion oJIoi_U diu~ ...., dit ~h;kl. 1 ill,,*,,",, 11_ loU 01".,....ilb public a ..u-i,in. H ,. in hi> buik/i", I......... i 110..-a.ito( ..nul Wee ito 11M' IIwr..- tal;iftl ",rIC of hi. P'c-«" Heb.lIo o.v 100 birt" _ ...... Iokn. lliCh,.. boonaIo. tI.· L_ ...Io'd, ui"l.'y broI ia ..-indy ..10_ olic> and .....id\ io .,... >till .....-. air. He
bIOih a buno.cD' ...."'In "'....r..... loi(.I';. bi.... "lMI i. t,lO_ .. " I""""npcn 10 oN nci,hloor"-l. It ;, ....1) alter lJu.., In ,.... "I....,....... ' .... ,10.. liC~ ...,111 DIhcT .-plc lQi-.
J IDn Johnnr"" .to'll ......... l. o.ri...a. I'" I h...J. p;or'J I ,.r....".". ....pill ...Iou h.od ~ rn "'I tith l~' .ilI....... ,r bl·I.."alld "en __ io Ioirh "ho..l. T,,·.. .., Ii...... """"'tIlt, JuI"",,. "ud .oLc<l... in pri ,~ il I Id ,r..d, I..... '" uw. He ......".~ ... Inn! blI"ly.\My 'old and ll*Nnr; u}' b)' .-nonr..i,. u.., 'ic'" ia ,....ncirlobod.oucl and U:ioioL'''C Ut",·••11 1M" "'h 10 'no/illlt. '·1 .DD OIW 10 MI}' I';., ., .humor .,,<1 "" ...... ""'...,,or" ,.. a.oJ. _ hin, U.... Ut.,. ".n <lol''S: i, I.... "' had ,.",1" 'bn" '" rutl. IllC') reo_oed......loy aowk/,,', I k.u. J ,.
I ""'."Cp.... J ..,. 1",.",1 ",..! l-,:'''..;nc i. J......,..., '!llii. 10,c::aow 10 my ap nll p".....".")" •• ~:tlU e.....,. UonoIlIy ...... friob,.at_ We bod> l'R,cn<InI r.... u... (tnt w... _'w 11<:.. 1M cuul<l,,',b.II.~ '- &Oy PI_ thaQ ~:\IU I.ocn............ ;" ...chuul ... "" lJ:,,1
~" .......Aboo.ot w u_ Ja/t.n..,.~_ Illy ...."" 1 IM;~,' ............. ,I........<1
'ao!.iUl· tCnI kd __ •.he " .....Ill' lIao.. a"" hal .. uI ml """,tnlC"n,1N.I.iJ.w.,. U cadl ;,ucrip<-, .... <Iv "alN' WM a dIolC. It ,ao/r;. _
_ a GOOnU:io '0 lip , IN, all .he <b.... -"" I>1an<bJ'l and rri4ay..I _,..........y III .,. ... Juhnny ..... ....Lnl him ,...... """·......... 'i ..'
:.~'.'~.;':;'-=~-;;;------------------------------------------_.-
f-H: Q.&sP.-T kbl-lleuL-TV r;u;; , LJR8fh'\!~CL· 3{ IvRS,
1
Krissy KuramitsuMural Resource Center
•,.
•
-.
I hope to speak to you soon.
,
Sincerely.
Thank you for taking such an interest in graffiti and the young people of California. I Iforward to receiving copies of the current legislation for our files.
I hope this information will be helpful. If you need any more backgro~d material. muarwritten. do not hesitate to call me. We are currently puttmg together a sLIde-showl cumeulabout graffiti tentatively titled "Graffiti. Culture. and the Built Environ.ment." which mightuseful to you in the future; we would be happy to share the research Wlth you.
J .:;-;:;,:;-.,;
Oftt' ll.ty I .MO"ll JoIl",,! 00 _toe' ot._ I.. _.11 ..... _ ... ,_loy hnn .nd _lot .,..IL H~ J"'O'iIlft'd lhit imprftOi." lioI:"'_ .1.,. ,~... L,..
Anad Tid HtaM JUilJ.'''''' A_ kt.,. w....!..anT Aooiuo ~. 14·;, ....J......., \'~ ..,.iocto ,..,..Wil.. ""I~ "'... ~Ti.. lQ;' .tillic ,_.....M;,...1 ~I~ J~ W.naJ""", _k1 mod .nd -'If .11 of ,Jo-c ..._ .nd .., .....
...... " •• IIOCC'Vff'I'd I. hi.. ,..., _I. ,." •• w ..raol;IOJ , .., .... Iroof'l.
I ,,...~ .. JOohIt"1 el "'T 1........1"'" wilh ...., I _ Ianlilttl ..li'~ .. Ii), ht. •• iroodl. It _ brrJoN.l 'hei, iNCT;pli_ 1 ......i, .....to thtft. I birr" .. I." 0 1 100II,. 01 ""!' ........"-"""1 i" h.lI. or in I...., '" ...11 i"l1 i" .I~ _,. _101.. 1 triM 10 'F'aft' ..... '""~ orru",..l loy "ifnn, I""" .. ,.....'"'"' .nd~ .. _f"'-b. _ ...",..,•• ,wo boob. .... ""'* ..jMk", -.
Occa l1~ I w-.r J"'-~ _ of lht "'""'" r4 ......- ...-.ott .Ookl h ~lt ftOlMrn...t .1IIl -.-.... If'I'ih~ .,.,... _ ..Ii.", 01 ch 01 "'r. .. it I __ i...-...Ii"ll: lht ,.....,.., ............... _ i"ll h 'Iorir lI'CfttL.
"'''''! '-tf'd ,.... "'" lOW _. -.h. k ...L ~'", .. _,u,·. "h~ _ ..,i,. , he ....1.. OtIlr Il.-.>"'P" ....·...........-
•
, '~it:: 't,\''- .
~ ...~~~. ...". ... ., \
1,;:,,('";.1'.'/\ :'-.I·/'t···.., ... , : .'..... '. ... ---'.
Nqro .. J....Oanac.c aa Ld"J'
tAt·,aaj_J-aa Fin a-.Cow-..,. .. A.acMay Cool
...... ....iUeAJ,i,gc .. .Ilicl.
-- ... torr _i.Uoc , lOi,," Ii........,., .ad ... _ ...• .....lolic .al./,a ... di-....r 'Iw) u. -.do ... el 10k ill _ ...
Wo.w .. "_ '~I Iboe r iJIIa.lrno _ III _ ~ • .-
~U'c.~IO~~"hia_lI) .-a _ ....... _._.wJ 1OCIt...~ • _taWIII ;.,~ ---.. "'"youtbo kaoI~ W u.. ., ,....-r d>iiodna. m. _ -.iaI ill Iliw J'....... .--Ai1J''' -r ,.,~.--",iaI '-no"·r dliJd.ra to "'liIy iM_I_ III II'" _"-Ian: la .....ociat.c ......... w" "... ' ...if. G'uDaJ aapra 01 1"_.... T1M "'J dIq .1Il! ~aIII"- ..... tktftld • wni-r clwy :.....",.. ia .. lao i ..........
1& aJI Ill' ....... ct.iJd b ..-..an. _ ., Iym__ aM aMlItoW
pnoclai-. • .tIlI aN pan ........ it aa.i.i.... "'JK. ..........DeC..den Twf - J_lia Mocp OUI .
.... IfIPCl"<lUri.lr. _aJl iIlorr ... __'t'ir labcli,. ....11 tIlaI.~Uocin. bto..........Ur "'"-oi.'I w 11 ........udary '" &aoir .....,
throwltr. Uw WI 01 ~"'" w" ".. it.W "'" ""'ICI ~ IAao III • pit. T-LoA 1100 ...
aJ"''''J -u. ... it Wn, 1I III ..., &alii&- He "r _ a. _iu"'w 1IIio. ......--=- '- • -"1qI cIMa-.J .. _ doe", pan •• ~I ......... _ ..__ • __u.
wau 1" _Inial I•• P-poor: .1 .., 5k ., ....,,-- .- - ..tnial _ Moia _ ....... _ t.~ if,-.IM:r piaRI- en.."" "_'-.La.__ aa4.ua. ~ ....&lid~ ........ It DOl ...~ fool -.u.... riOIp .-.cI:Ic e-L all jacUu.. ..'" ~ .............. """"'-iLa. T-.. .. --....~ ....... "'-c III..... jKa<co. Wc _ 'Ioc. .11 "" .....- Urdlr .-.. .unod .. Uwal. U'ba" ic......p/lr ia _ ......II -J' _11 .. .....,. r.k d .....nd _.'.11...1 ..J'O'IHII pcoopIc _I .boo,o. Ihc" Ii..... I... r.k _Lo .....,. .tIliotp aIId ......1_
.JL . ){' I I I {UJu... .:]?'. 18'j"fi"i~>.~'. \. ,. .. ..' ~: .. :.~.~ ~,' .'1J. .~~ _.... _.r·..
Uo.u Dl l1li ,.- ic ",..""'1•. XDI... uf thew ;. 111 ,.. ,,-.1 101'.,....Iilb II t iJwy c••"u"I III .lor .,u,~_ ,'"'" i""'" 1...o.Lc booAl".. ..... il. il 4u<a1 __tw, .... "'k -n.....Jr ....t...... _ eta- I. _in. Ho..· ...1Ie" , k """.~........caol. _ "_......
I .. _ "'IIftoIi"l W.~ """",w.'• ...-...... ptdtiawrit ....."._If PIll ".b ClIft' to Mrp tIwDo ..r-iWoI. a..."""" I .. ""111--": 1 1.."'"'~ .... ~i.. .... "" ioo, OIl u... boca,,~ tIoq ",","' ..in... our ,...-upUuou III~ i ad w -. Wc ..y'-'" _ 01 l\l'lh RfII"ry FIftIdo WCI'" _ lnocrual """.. i..cioM. DI "'" "J'~ .no! _ .....11 ... p"'i ~ UII I.... tl...waUo" tba Ca" III l.wu .0-. ,h;o" col pr~h it 50wcb -..JnI,~a.,dp' il _ III k ...tnnl. III I",,\., , ,.,._1 -e 01 .....
~.r lill col .....e. ~I lila" 1100:........ ' .. Ih.ll ....aMud 10 .allr ·Wpikul,·.
:~'_..;,;.•-_•.•-.-------------------------------------------------- ...
NoT AU. WA1J.S 10 .......t .. li .. i&nl. I· pl~ ill , oocW'r OC'CIII 'IIk _II ~"''''Ial .. ith .1Me w.II. 01 1>1ir' "' "'..." 1""'i1i:.t
wiu. ilf lilft1ll ....~. ''be rKn" bouh 1I'''lIo lillk _ ,I""coI~ .1 ...,itinc- Ir..--.ibnl Jr lhoc w.lla .......S- col ..... ia """;..no iIII ."' i, '''''01) if if _I .
Ilw _ ,...,.. c::Ilarancri..ic III "",blit t~ _ c".pt__ ... t.bIIuclMa. I",linl" """ Ock.. w .......ur tn, ..,i. 'poI.i..' __ .iofI. T.'.. ~Ii i ...... ..Ni III .....1II) ._,.
_ -1ct:.... - .01 .'''''')_' """;''''n ftl'UllI) '-r-....ocn (dn..·• h_ udican) ,~"'inc I.. ,.;,do """". koknr.ciooon ;" Ct.(Jo" okon'il tili.'C _ 11. 01 1 .ncial ......, C'DI,CC"'",I liioo;nl ..I;M. " ia t:ori.... IIOU '" no!-'''''-. od~.ion ••ICI ..,11""g,,,,,,,,iH_•
0,. 6tI11b 0IIdI tAl.... u:
e-co-raJl'l."'"
J..... ~"' "i!:! J~-"Bh.ri. '0....,. _........h.i....._,
a..".. balry. IMItn. ..
In l.Iw wiko ~ 1Y 1I.... 1.1....., I.u.. at~ aJut a ....t.lir' ..I.......,,- LIIcy QUI ."i.<LU "",II.. oI""'t ca••••"'" nici..LC ill l...:1inl'r.b.Il terrilr u.e-.• JDlMany loIir.a lIIaJ' ri.le" • (""I'. -nor '(:K1In' ;, • r.a.-III <be lOiic'l el h4 adI..r , "'" ..... bt'i"l nnlJwt l...u.-e _ "',..hal I:Ic ,..~ -loIi.. »J...."ny c....r- .. tIw 11 01 ldiroc..... bIocL N_ _inc >In,.h'... b.., poolIoIit: "'.mI.. --.Iou wail: -J , .IId Alii.. - ",_ L-oc ,. I ~
JeohDDr k_ hio • ..u........ -w bit .....,. __ Ihc law ,_lIl4np. h -W bit Ioio lricn40 IIOId _ ... "'- _ drc Wed. nw-u. 01 boUWinp ... "'--Ihlr ,ulolie. .nd pnpk ..... -'....... (-to, daiWra •••_~) • il ... trcaJ. """ "..w.-.a--J_ _ .. ao-.I .-. ......
n..n p/ot:uww .. """'''1 10"'" Ita..... I'eopII dOt""r .._toe.b .."...... • hidcSnI~ WilliaM>:. itoaT• ..., a_ illpooWic~ lhat ....~ qlOOUlioo' CIl"ha, u..,. prod"",, ..prC"IOi .... -....lIIIac. 'nUo~ .... lorUUMa .u-wMdpd. .,..,. ...
T1lc __"I 10 'rT ""'" I" be mod, h'•• 'f"'I'II- ....._ ulc ,"",,-.Ir ho -t _to- .....,.......... _Ilr _• " lIr Ii"", 1'"'1*' _I b!' the ......"....", ioI ri .' lri 01 '.Iro· II i. of lillie 1,,1C'tft. I. "'"r .......,people 1 \ioh il. ,hori. "''''''' ... _III. .rod .._I • Il""-' d"l .baoo. u..-I......
0" .'" ....... h.M. t""'" CDIII""''' ..........Cfl[......... ;M." ....f'C'pa"ft ."' • "'."'. III ,Iw -''f. r""l'" _fo., M.-. ,.,. ......Cftt'OII"'- "DeNi, O'r 10 ........r lu.- or w ....hrn........._li ,*'-_ ....hd ........ loOlIboaard.. ,.ikl .... 11..... OIl"""! alh. Jft ,.,. ....• ""',_ to Uoc ".IMO I.,.. Iooooc. be .._f ,IPflCV ,he lk. q _• lak lII kI' -'1.nd wfIaI"""rT willinl" uk••he , ...
THUf'l~ A ~n...,i••he DowUor: l"I:lI.... , _,..,.'" t,:a..., 1.lfIID IWGII. Oto 'N .....u. ftiIOoIp .......
el,...hiIIorK 4,.. Nod pa''''''''' IIIb~ Tlft, _ I11III4..".. _ ""tW'f "'" plCI Iu.~ """ "1 pftIl-.v ........-- ..hidt ~ _ iJkI..inaWtt loy opoolitlh nw ....pnMI ,he la w1y oIq>lofft 1_ dd_ ., III.- ca"" lIT "...2Ot1l « .,. _ ~ h ........ tha. ltoe 10_ Ii '"....he ca.... ill Dfllr.- _ • .,f. __ ...,....... _ ....._ ••ria.
A _'-a ,''' ....Ii"" 11 root "",",Ir tIoe ....•..... ,,,,,,,,- III ..._ .ood eLI jIIkn., 1_ Iu. ..-writ.... _ pua 'htw CIm' fI lUll: u :GIlet.
,-
'O'idr.,... kllr.-..-I .hlpped ! •.- ..........11 ..w. ........'1'1ot _ I ,,~ .11 I patl;n.let ••n. lht~ 1 ...h lik...
...... .".... _ IN: IA,," 01 child",,, who _ .It• ..,.,. •• _. I
- ....~ dowl, •• dlilcltfto ill u.r ftriIl il:o-...... '- -. • ...1 .irk ..,. .... lht IL an....m,:...... ..... """,,,1._ 1_ ) ,.. l.icMI ..,...;.1 ........... .,.~u... _ .h lht blad q-. ) "_II •• , •~ ."a ill • dill,......,. ,....~ •• _ boQ_ all .M -r
lit _ ..m,,", ohc ...11. D....i"ll: ...,...illll~ he ..... oi'r! .M____ H~ .",",,", K'l"td .OId .ahalMlll boQ_ '" _hi.', tn<LAlIlot __ I IIr ..... .no.. ...1 r-'""""i". _""",, ....... ""'",~~ __ , _mine '" ...n •.- .hc .....,. bet;m..i"l .nd In... lht
aIp/Ia" ."" n-""'l J>ho"I0 f"I,," .hoI,'" M ~ U. He"'""'!. ,.._pl1r r.. ea<h lea.......... imP""W'! _ _. ita-atrinoillc••nd f'N".hlr pop..I.' booy. ~1' PO'
·Jeh...,. c...r - r doftI )oi'I""r~ c1_I, .".uw 0I1"ft1 .11................ hi. ''''IN II _. "'r Iftll'r.he okli'Tl"! bor ....• .u. __ ,he ..,," •.- _. I him bDrfM"I Mwoo o.hc ..fffl.. rl-ir be.. 1..11 .,f ,wi",iotc """' h4 ldct. Hc_iii ..., r.p wi'h _ ,i.k '1Ir hile. , lioIw _.
_ ...........,. II _ ". IJwrto. I. IS "'i tft IIr locI "' hia_ -por .. ck."iP'«- .....Ii"l: n ....ll'· .bou, .he torr. """" ..... 'T'lIIrf _14 .... m.ui"l: ....,. b ..,hifo&, ) .......! ......... I.h ........ ,..- IIIr .._ ... I'ft'lul" it .--101 be _ ."..,..u'e ...-r tMt lor _"" ptnn"I ....h ..... d..' ---.. I ....11111...,. .In !"I"''',....... IIr .. -. fII ,..I!! hio I~•• rodIt/Il fill .. hoDv .niWi.1 is '".. ,he "'"" oIlcadli Na.......
TIle 4naoo'C"'f .. J""".!'. I'" flf'ft ictl 10 • C,,"III" ioI _ rTI.. ioft... I ..w .....""", 'lIdi.... ~Ilofi.. at J"'''"", c.or _ihCII .......11;....h he W.ohcd.1w torr,,, '0 ..I" .""". il .rod D1..... ";dllllOln. H~npIa_ lhaI. -. kid. ""' ......,,! .. 100II••io;k.._: • "" 1_..... ",",u. • --' 1.- 'horir 1'..OId.... Ihin! 1.- ~ir '[Io~h<1'o..
.... '_nh I""" c'"- 'or I.........""". I -..u-l ).i_ •• Ill.....":J...."r Ia..pl...lr il c1c.. I. _ Ihll .hio .... ) ••'1 "''''''1'....1 h'-If. ),ht; callnl I"~ BI.ck ke..... III Iwr .Il'tucle......lw ..... (Ill Jok",,! (.;001 I........... hc h.d ,,",. ri.......... iIr"'Id "r.Me "''''' td r.. mr 1'C'""Ii' Ihll ..iftC' "'CIC clDtht't .Ifll d.... "I'
__ • liooc ~ It"." • ,itl.
W~ ""-_ d-. .... joi'l""! hcu...... _ •.-Inl'd d...... ~,He _"'~ lik. lhe )M""! I'd .o.n,Td DOl the """"'" oroc" ,hera- h·. "p "',h ....li", .hoII. _i,i...... dow ",,11o.M .....1iI <he li'~ 01 .he .hilll. \'''''" I lOWf\.;.,.,.,.,r ULaI I _. ,hinki"t:.. """"'"" 1 IoIIIl _ II:"'Aliti "'"' too heir- o-r I 'M"" hi.. "r... ,.. Il.io _ ... ,lIt _.11 ""k!i"ll:" i. /I.....VO....."'-i. Hc~ -.-....u ,'" kMhde.-.""' ........ I""""" hia.'" had_....... YIII at '" l'-ch' ~.'-< II he ulkftl",- jIIr'" ,_...... """" pnopJC' '"' _'. _ • .., lhor _ .. _ .....~.... lw ~It
.. ..... JlOt .- _ lin' .... ,....... hio .ticNb.N j..,. bor" i.. _ i..-'! fI -m"ll _ Ib ...
.... _ iii' """lr' _i._ ,1Ip 01 • "'_i 11~ all IN lid """ i ......i "!l Ihrit r• .,..n r •• katl...~ • '" "'" II). Hc~ C1Ir•• iNd •• "'" Uul IN: _II ....._ ....-.. ltw ...."'....... r...r; hialch 1M....... doe .,..,,,,, ItiaP"I' ..... w. 'Ioer 1"'" It 110 whc_ Ih.,. _ '''''''1 III dial .......,.....'.
1
-
I
...
000 _ 01 "'!' pura', _~,....h 'M ~ ......... aPf,u!Td .... ,hoi, ,i.'",.~:
b'.c1I. oi Ti,;Mel.... a. TinyClori. II ~~.."
,,,,,,k;"» n. ~'''''''~r
Jo",," a'~
~ r ulf(! John"l ...h .. 'h., .... "C",""I Illd hi, ..."b".,;on w.....plot: -It _,n' ....... ,,""" rln Joh.."y a"d _.ime. ..... Johnny<-1--
W••ll ""' "1 "..1011. ;u..",;,~ ."d brio.." ill dIW...... ' "'":"1 wi.h~~"".., ,. po peooplr. \1"...,.... d...,,'of_ ""ro /.., ,,,,", icl..."ioion ...IW l_ ~ , P"'P" f"'Olll•• \,', " ..'. buoiowu ord.. pi".. _...".W..l .... bade 01~ In ""... 01 !O"....~ r._ 1"'0' "";.hbot-"-ta. thry "or ,ht' .....U , .vrntund IhnoI 10 ' ....."_"1 .nd ..... h,..l>Iil: ~l of .h.roor ..w-n'; TIl.. ; ,,,... lor dli~ol ,1M'• WoIIe du. li"f't ,lor ..... lk "'idtlle ~ ;,:"'-'*"10 on ....,.lIy~ on'Upu""'''r ,,"" 01 ,ulli,; ~ C,....illt kt>". I....U...... 1('1. ......
,.""',....~ ,;nlli'i dril.,,!"'....1'lwft io an ''''""'''' .Iu ttl ' ••" '- '" ,.. If ..
rtteo....,. 0.... di,,",,~ -u.a" I..fh,· •• ~ll II 'Lri,!", 0.,,,,,,',·AI SlOtl' as..,.lI .. 'Slick •• AI,"', II don r>CM dil.,....,iau:. fI"""I""_1lIlro1 _ 1.- I "ic\ulftot..... ,hrT it rbft'O ....0-. I!f'" ot ....""'" i"• ~"JO"1t I""'i.;o.,. ~"d flU! oi,:••;/. ,h~, , .... ~u'hon ot .... h""'iu- '" d"pU~ ....... ttl ,!w,. irl",li,~ .id, ~ .itl, u <""tu~'"
010 \hr ....l..'. ad .. h ••'"','" _ 'C"J:ud 'hr < '!1""" 01 ..........e-li"~L ~ Ji.... "" ..... ~rr ...' ,.,. I n rltl _Id IIoc...../'It of~. p""'~,! ~"d .....""~l .·hill , "i<~n · {Ltf,! $I;'~l
_1<1 br 'toOIuJIh' ttl •• '"'""'d...... "no' in<id,n,.L Tlw .i ..l'ft'ri...cI 1.__'...... il~ .1'II'l ,"".i ,Iu~ 'hrou_ho<o' lile. Tlli._t~.... _;,h 'I<c' ,.....;,., " \" ..-hith i' ,..... Ilr 'lor~cr m.-.I.... him 1t 0. _ 'It lro... hi.l"'ff'. " idt-",ir him••• -",lor. or • l'«'" l'''''r ...hirl1 u .. br ~I ''''1_''''' '0 hi .Mfthip I" hi. l.... il,.. Tho, •••. 100:""0" <!HI !h., 'he tMId ",.,..Wi< ~c\"o l<drnM\' of 'lot 101' ,11., I~ I;, i .. ~ _ ... Id or hi. 1.;, 10
which i,. '" hi "'"1"" '0 ,h 1<1 ttl hio I il!·.Tlw ph<-_, i , 'M ,""v"" " I 11..
Of"" .u_pa"!'nt i, ·i," • "ntJr. "un. 01 __ ill ~nd 'M.,..okot>o.. 01 • loe.. li,,·. n .... r .. po••.com"' ' ..,roo JUa" ....1....... IIU! br oa.- ...Ird b, i"",11 b.., i\ .·ill .1 ppr•• '0; .
'''pooln"'po 01"'.po of ll4
--I.-
:lThe~~F >r~- .'-- .~ ,-~---•,,. di"'i"f:Ui.a him 1..- •.,,,", "il.... A ....
Thr ... ,hor of ....~f'O ttl .;- ;, ..~ ~l .... hpo:o. _ eI -.y ........ ,Iu••..,n'" __ ,I,,, l"'e '1,10 51",",-~ Tloc ..~ ,..,. it .....,....i'r .. nc1 ,...,.,...1 i .. I II10c ~. aT" l......uo.., ..,.,. ...lilr -S-;Ih' ....,l ·w,lli._· i" ,he' Joitn 5Inich ..,II J..... ,,:.....1II1""'a"," '"' 01,",~ -eft I C' hf10t f-,;-I"'-' 'not, .lot 'l"'-"Ii'" '0 pt..., the' iftdi..ido&ah. lN' bar i. IpIf'lik ..........n ....... prc;u, .horo.. i. "...,toably~ Ii" LIM, .a w J .,......... ill 1M U..i.nI 5...," "a"'C .. n ..''' ncrpc __ _....... "'1 \hi"k of "",ff' '- ru...p om om.... 1.- a _i-.: '.._·or ·.or1·_ 111 10 me ~ b LlMI......to~ 11 __
l f dIftI .0 'f""'C"b' tto, ,i ;,.;,..11 -oric;"" In ,he ,dn"llonl.... 01 I""rlr ..ilh d,i_ or '(ul'Klcriooici .~lil",
Whicl\ a r.n.. the t.IIr ..in" ,dT.\e the r o n;"~n ·r~ ·. Ac....dl"'C .--....in1
dia ........;... ttl the :'i.r'"" ta .._ tr. 'lor 1..1.... -.o.. i 01 1"apo'_...,iovo!!, \hi..... tl_ I_I'. lI:i".,rI. 'M /\roh!, pu, .h.a. tto.......1..- 'M Uo'" of. 10 1. 1M 'I"''''I'~' 011.....'''"' '0 .. hin/ ... ,....,.••..,the CTr:OI 01 fco'hen .IIOU' • biro", M'C\ a~ bra.. "'" 1M .... .,c1"';n, ClNn.ni" 1 .....ba,. I.. ,h.. rollott.. ;"1 lo"...atr 'Mw.r ..poP"'. '0 '1"'0\ I _'. po ,e btoa .. or ul\ bile. , ... '- ki•• ol'oorl ....p '0 calli.." • b ••p "'...,.... popo uwl "" ...---.'Popn·.
0...... thc,.... .. r.po -.n. '0 It..... braonr. nick ...,""'"it.. tIoc ..-. ten....... ,I" '0 ito or"I...1 --.o..i ..,.. I h.a ..a n ~ of , ,. Ria.. 'ric1od........ , lIoc "K\"'_ 1"1 'T'lrt'''\ of ....... 0 hpo. !"" ..laimnl .hOl ,he ""'"' '''.. po', iwU UtI ..111ft ..;,."~ ;to .
o..c airt lOki ..... , , r.po _ 'lor "k....._ p..... ,........7""""lt:"" or ' ..-or;,.. _ 01 'hor fll.. ;I~ _ 1"""10.,. ahc _ ,._ --.1Icri.-i"C f ..... __! papo' C.,. boeOl). ...--. lrimtl .iIl II .chc 0U'C'Cla 10 tla.ip'" ,...,.. ..-,.. "'-Jh, ...,. .,..w.M_ pooopk _ ~''''l ..,III the pla 1-' '~
.1IM1" .ll-Why ..II u..~ "",t. ...trOfti How ,.......", "" ..,. ......
tlmd..... who bat dorIIaJ AmI', IIot-r jw& "........ ,..,.. ..-tIlrir.- •• other ,....,.,...•• COft_irrKca.I 'hoy J'O"ftP'ft' .......wri. doei:r .._ ... -.110 oc ull
WH£.N 0""[ .liCkU1·1,..IZLS .-.11 io i~ tl nl", ,I........ ~...."" 01 ...,ruin ,.......~ uI ..1 ' ."" '''''''Ii} .,otl ."
.. ,oh _h><b ll'w:l .... ,...... IoooJ • ., 1.-. kt~. " ... , ".".......Ifa'i 6uo...toO< 'C'J"'C'M'" 01"""'1'" '0 40:1.... ..-.11.. s i• ., •• i"'pl, .·'r of oh.....i..~011'. !hu... ate 1_ 1II."r rq..b"';11 In ,h.. f....n" i" ~'''1(1t .'.11 ,'''I-,i.... nol..... " ..n _ 'D , ,I"" ..- , ,,'to' io 4o:.U"1 ..itl, i. I'luculwnl ph<tnomm l il.i"l "' 'OII'Lor ..... ".U I"wo/ .........""'. tAr ......u.. pll IT '" ili"t h..,~ _ i. ,~" "'P.- ,". h_,1>0 0 alo .., Ih.. , ...1'0 , , ~ I'bl ill ou, Ii oW.in • 4 ""'...... ilO ahr ..1",1", bw.. '" Iii., i .. II ....cir., 01 _ ...
Why do ""'" ~ou"l..n. ".n.- '~""Il <,...,. II 11 tn.,1 -.....in ,b «om""",;" ,~ ,e. '-t. I , " ..: Thio-, lIIr a l••blr poi'" '0 inq..i • ., in U e .11<1 I ' , 01......i"l in our ...... , ._...,.-b<:r"tl, • ",..eM' ....~ ._"I.N i... a.1~.. I","""" j...._ hiCh oe!-' t..-.~...., "'" ~....,.. ..w~~ .rw'O'n1 oJ bi. ,,,,pOlo br 'lor ...-. 'for) f"'f.oi.Mnd Ihrir H", ,.-n! Wr u.,!~ .11 Iocit '¥I" .........,""'. iL lite llalll"'" I II;' ...11 1.ocM.I.. '110..) to 'uCl ••".",. M.....~ """ ...u I.wool. •• , 'hq C.~bl.-I ...1Ml 'un- i, ..~.
Tloc Wodter. - .. p' W, _ ..ioJ""" U, 'for t...., .. 01"""_ ."" _,.Iu"", fdl w. t< _. '"~ ....M 1,,10•..- 01 hi. l1li AUtor 4;.J ..-a. i,"; p"'" ao1u.. ."" llo.n. l., N_.......... h:04 ....~I dono lhc{~ ;. ' ... ~b~.. , n~I.".'-" Ioo-oiOn. _lor""-Ml alO'''''''' uk ,......... , ...... til ,0:. .."......., 11'0:.. " .-.oJ.....iolrncd
'n.-- puollkd d"'1· m'l I", !..u,....... iN ,,,·.n,... ,I... ~.~~IC' c.ho...e~ 01 __ .10<1 d 'ho- ..·lo<>Ir ,hi... >-ill, .10<1 '''P''''".uow.. ..I.1.ul... Arlto.•• k>lou - , •• n ......... Jut..o.>. J""" lL<obi......... &lid Ilol.orn~ _ ......... bl a......w
l,·. nor. Iha, 'M •••doer •••• "'"''ll''''''''' .,.il\>l ..h'l'\tli"t ""non; lorb.. could "nd........ 11<1 II... lucir ..I IJOlIIC <_to .",1 1q;.111 da,",,,,•~ .. '0 Colr or Sda"'art.l '0 lI1oc\. H uy IlOl I..,...,lt1,."hurCI... o.Ia "_ ho ~tT .aIa ...., uI ,I;..,. I.II,i11 II.'...... lo.., it 1"'01>.11011...... -.., hi. , 1"""1'1<' ...... ,tl ..~ .. , '0 ~, in _i.h ,be....;o'i" 01 ~pk : be _i"'l ",.., .i"e up Ih i,"," 01 br~oi .. ,...,..... ""'. tldl../'C""••...., tI........ \\'h.I, I........ltl"·' .. , ~"tl ~.•• lb.,h<o 1. "" ill ,h,· ul'l ., .1"1<'1;"',. " ",,,". '10.., d ......for ,1>r-tIl-...r '''~ ill,..." ...."'lIl I. " .. I" ,I "n' ........ _;.,\.~CI_. ,I }' ,C'd '0 tiid"..",i..", d"''''.,r!""" It i,. TI,",! Lo ..,I""""hio .- 01 '''t.r br< ahr) <.....ill d ..... <00",., illq"l.
To U tlt b<o} " Th<oo..... J""I._•. Juh" 11...10" ,. "rodll.olocn Lrr e "" n._.. " It:o, ","u..... ,I"';. I ilin 1~;""' i.s....ikcl ,Iar 6n.<.....u,,,. uI' .!~ •.~.. Tl"'l "'" -. «: ,ton....lor"A. -... ".., -... oJ.io.I too"';; ,,_ ".. , 1.- "".iu. TIac-r
........ ~ullrtl oJ i nd " ,I ""'oW OIl ..,." >Ia •....,.. 11",I~.......,. 01 ~'I Su.~ C loLoc!. ~tlt .. a Ii.· , .,.."""01 <ior ...pprno..... 01 A(,;Q.. ('OIh .., .. ,,"" M.ln"i" i .. ,.... U rCI .sa.. .....O.,a.~ ~,..boI .. -....:.. i....r fill' .'''''1 i .... i. ;. .- owprioint: w,_e ,1Itl, ......... i. '_kf ." '0 drou..,. i•. I.. 1_. _ bl.ac:1 propk
.... -- ti·UtiJ ",",. d.Hclrn> a1 AI'ICOII J-Scb 11 L- 1llL
Abo U aftd ~ .....~.. 'II <1i.c 1'CCI M.ia __ Atria
01~ 1elI IIoc ..hoM lou'J_ ' • ,,-.1 i ....
, "
'.-,'
"
' ..
,l"l
,~•
"
,.~•, ,
• ,14
'. '
...•
-
.J..
·_,In (>Ih,,"' IIi"",,!. Thc-p ,,-,,0' 1."II~ wilh -d111w! lu.-.l... .. U. ....-. '"-Infw'd ....... _ .. ., wfto 1hr<J' .~ "..,. ....,.... .. Ilw. _I,. di--...t _i,;i,,~.....h.........., k.,,,i,... .. ,.... ttl ",-1_ ..~ tofu' nil .. ROt til ; 1\«....1 n·~: _ ...._,..... ., k,•..o"'C ....... _ 1_ .. llI"ri", • _
-. ., ~,.. II .. _h _ IiL..."" poht •••_ .. ---.n"",o TM..,. __~ .. _let ..00-.• ...,.. _Mrlo Uoct _ ~ to
.... ....... 1lo:_ 1~· """ """'"" ~.ct _ ... 4111'........
.... .. \Iliolp. w,,1II n_ ,..... "'''1: .--<1 _ ';uo WI _ k
..-.. .......,....!"f'l I. IIw _Id. AL"'if. ARu., - ___-'r "!"".... OIl _ idoo-ft.i.;e. ..... ,I.. e- , of 1IMw.
If _ K"1"' dw ~. ct.._ .1Ml __ dotV _ --.. WI io...._", to lO«<1"i... ,,,,,,",, __ ....1104.... Oft ,,,,, ..he M. ,,, ...,u... ...-. .. to ",I..., '0H'_~ Owir"'~ and to 'tWtr 1M.,. 'II' <klftocl ,Iori. "COW ~Ii' .... TM .r-doer clid _ ........1Od "'ha'.. _ ...,. .,. """""'11: ... IN hi. pwpll" _ •....O\IIr fIIl_ H.. I.hu.;,. ,"",,", rnCl;OOI W" _I or 1",.,.".... 'e hio _>-- II ~'I "'I'd 1.... """p hil ""I1".. li,.,,,,,,, 01 tM .".l•..-r........ dclFo:q....ncr. oIcr~_Il.a~ of 1M 1(lo0oi. A"'" .11. ","'f.~~T H!: £A1l1,.\' CH"IST'AN!I f'tfti.... _ .._..,... _ _
.s--. .. ","IT. ~.. l .1 ra ..l ,",c. Tt.e. ..__ •.,. IN:_ Ii_ dory _ a_i __ of,", """'"" it!~...t-dt» Mp'''') ....., """,L ,he po-It" f..- _lilit III ._her rwrr... hi doc~"""" d.lh", i ~ 1_ i.ili• .., 1.,.~ hio t.....I! ,ift.Ad~ _ I .. _ .... _,,,,,.e..;.. 0., __ • "'...1.... _. "'"Iu A.Ii _ .1•.....,. few
.-.wn..n b" 1oRI'ptftl1lw cN.ftJe.T1w _ .'" _ ~ .!"'bob of ••"".... bon fit-' 01 ..
• -.ell. T 1IIff ...... di.CI'C1I 1ft _ 1_ Illc ..... of ....a,. 1I1loc _ _ io.ho _ -* _.....'" Ito. ftlui. ~n.tlIt _ ,'II""",,,," ,toe ioodO 1 tr- I" _;.;', .1Id ......•iloo llilll _ ..h. IflCrilic: ....it,. T .. nf_ Ito rapwod _." <'MIl ...._ ......, ..... ;.... _ loci......."""" "" • __ I.,"ilu_io • ,.. of _'. ~ion ."" 1M .......... __II........b i••,.bU. laue.
no. Iud....." ''''f'ft9Ii.. I"'rtl~1 f"''''''''" _.,..;0-.1 -.. b......h! t...w. ,,"tl~ , wwr-cl ill .....Ori,." __!" 10 • p.n lIi... ,. hi..... _ _ "f-' • r-o--o'.....d.i I.' _ ~·.f lilt.~ , ..M1 ""P."""'!."l! _~.Iw_ ,i,'" i.. i_II i, "'" _~ il- Or I","" ""J ,""r,.....m,1y .""" ""_~ , _.~ ..... pniot il- I" ri,~
ow.hot .1.........11 doc 'hot .....~: 1...11 r_... ,heioo-'<! ef hio ..- i' tw- ,_"'""""""- I_It ""PPOO-" ,,,," CIllO-
....•...irwo of ,.... pIoiliu;"" ,.."i., ' _lot: ""ttpl........PJ-1" ,Iw
..I.. of dll, ._.., i Mod ~ ......._ 1 of WM'<ft doc _ -. ~"'W'ft IM____ n. io 1""' __ I• .-It.... rIM ef,..~ ;- - 1_ ,....iw(~""'11~ .. '""P _ ,..."- ~,,' I- A,,! tnni__ ......... .--', ................ nO,", I.....I'ft'IElh of ""lid Illc~ .... I .._."-
WIth ...... I" poi.... _ CII.. _ dttol ,. iI _ .11
..-..." ... t1..~ ""'"', .1lC_ It • _ •••11 l"lt i,m.• -liI<riIlt • 1"0"" OIl .mitel oeJtt-. .... 10 II pl, at"", •
--,
a"Hi_ flcooil'llli.... '.... lIIdi....h..1 .... ' .....' ..iolt hiM f_ T.I'tC'IIi ~ui.. "._ M,"'-' __ io ... lot ••lintlMftl ...h_ i_;I........ ., I!"",_ of ..11l......,..lr __ --. I _
-ia( _IIW"II ., bi"h, rIP !:' __••1 "'"'"11'1' .tit.. (....0.........0_ ,.., phl ." _ '" oli _ ....
-..-.n... ~~... of • _ is '"'_ ·'"H ......a.. .....
ef ...JtOdt all Incf .. II:\'UC ,....... He< ~ I" W_ ............................ ,.i.....lC· I_it, _. n-. _ ....dtiWfttt ill _, ..in!~ _ tto-- 'e aU illq........~..... _ ef , .......... tht;, f.tJocn· lull"" _ ....,;plio .1IId "'ri ~~ w..,. 1~1y.~___ INII • -'" ill tA,:'~ to> oc Ma; ,dliJllllftt 0. ". 1'. h aono- '~ __ ....... ,. ""'tvll-.h. iotM:r"', L T1'It ..__ .. ftIfJli 1.- lH ()kf y....;,,, ·hI """""' __ •
, .m Of ,II'I""",!". T"ht Iooll.nl io ••hild 01 loom.Vet ..Iu. 10 IIlt!Jililll'M .~••11 1Il.'.ili_1( dlilol~ 11 0. _ ..~
_ ..... i1 il .... iw...1( ltvl rht u.tvwnu"",, ef hM INrIIt ..~ ..._ ...... of _ IIIIl "lIIily lillt ill __ icol,.. 11 io _ ....
..lilt • Mri<l! dliid i1 i ~ "" ~
""'"' .,... io """""' I.U ...h.... boon ,.trnoit,. ;. _ ...Tnoli U,. ... w","", -irr!. 'lW J-. eM••~"'-a__" r,,11 _""""Or ill -...on,. _ w.r. h io_
10 ..,-..t< hio i1....I...,.. 110 _ """"'-" '- ..fa..itT. Mod ttio htilll dtII htW _. Hio _'"- io Wa'""'" ...,..,._ 01 Ill""" • tta.cc ito _ d..-.itollr~ ..~01_"'''''''C_'
SdU.~ ito • .....,..1.... to ..! -U'I ..." • ..-.- ..... liltWelf -t? 1o.1t """,,,,". --. ....if...". pht"__.'_ .~ .. Iti..I, • ..., ... _ ..._ It... doc _ J.- Ynft'l' ........... III ,..,Gel..... __,10, (po ~I
u..w. • diolcriwt....w d ..,.,. "'"- ,It 1Ia...... _--'- f.1OCin Utli 1M \"' _ .....lIM .-- .. 1110:'" __I....... '" II .. _ M'tNrnfY..., ••1.-ill.. bu•• ,"I .......trou....., ttitll""i1C'li UN: ._ ill oudt ••'J dtto\ __ric _, _ ..-......,... ..... j_ I' th.-,h h.. "._ .. '""",,It lUihai" h.. ".i' ,M.htl' ...~ial pa" of ItiI ..-.. ..I..... "i..i'i '!lPnk hia ..._ .....ital port... IIIhiMwll .fIIll .., ~., i ·•••11 .,.. no-. ,. I'll"'"1M 1II .h "' I"" 1frI. h. "'-' _ _..... l d;"'inn p.n of 1M ....-Ji.,. jIlOooI ...... _ hio~ ... hM 1ft'Itt. I~ w. -i-'! wilt .....11 .......tr f.- ..... -.liriouo 1u 1 OIl hio _ II r-
I • _1IId .. lined III ...,,.,,. 011 .....
w•. '-' .... 0-1.... 'M iftj..-, 1Ir 1M -_liriIIooo Ito ..--. Thtn NT .-- .. _ 1.10 ,110.. PdM I" ~
_'. _ ......... llliliolc: _'. -.N"C tlw _ .. _~ Out __ .I't _ -_ 10...10- ... pa" .. _ 'liltd_IIn" "'"- ...,.....""" ..... oM -'- if n ... UI! ...........u. _itll,.__ ... tht _1."_,,,
Koriolr' _ ill __...,. '- _ '"' .b. hni-e' r-u, _ ....idnodlit'll 11 1oMli..~ .,.;,.;.. til.. IUlli"'. II~ _
........iIIa: • __ II lrinh 10 _ a" .tW,"" b".. .....1II.cc f•• --"dliW .. 011 p'" ...iI'. FlntolaIL -
. ""--
...._.""'--It -...",. .....ef_.puUdly ..........,,-- (Tki. _", '- h' ,.......~ IM _
,a..z - on ) ou.c-......-_ pIo, 'M...... ., rdwu 1M "'-..iI, ., _ ....,. -n..., 1ft~
..._~·;-...· ·lI.·>.OIIII·IIl.·.100 .... ""'I0Io _i" --. doiWrCII ..............Uy _
oJ.. _III "--.e --... oJ ...~,__ -*we 1M--- _ ........ n4"'-' II ios.-u... .....; _ ..............__ .I•• 1lad,..... il~ .W. or. c.._ia rw .....ir cIIi"', .." .;"u· ""__ ..-.. ~ Old~~"~ n.h";"",y. £_ ..... __. way
of "'IJ. ~k1, ..~'" ~""""~'" lndi looIItI,. if """'-'111,1000 "'bi,rvy: II ...U 1""1....... -om ;.. • tvll....l __I-
N-----,~:;--------;.:~:-----C.:_:::--"-'If) ~I""'"
-
-
F:,\ t1$_ ._..__ .N dl.iWrc.. PM" iAM _ tNT _ -....t i_pc d_
f..- iIMir t-ilir.. L ll.an ••".. lola. _ --;"1 __ •life _ It.ot no'- " obIip.oo- dIOA'bOM of la_il, We.. TIW _pl, 1'0"'" dIiI4rno _'. pla1_ 1M _ ioWlc cia.. _na , ........1 t ia.~ .._I'-:_._ ........ tiM ,...... ..,. -U pdiU. y -u,. ,a.,..... _ .,~0I: _· _ .. 1Inf_!arw. _~ "'--ur.,~ ....~. W daM --ecn. 10 panici,. ,....• ... .e ...- -wlit1 1 &Ity ill 1Mork w.......... an _ai...-..., skllO.,....a ~ _ ~
w. ..............-n.cr-- t 1 ..·.w.ia-..-_ ....~ ....
it .. __ i1,.,. ........ i&"" ilia ·.9' ...--""' ....- .. ---..., ................._ ....-
-
' •• M -. •
- ~~. _. ,_. ---:-
Iooto_ .. tJo< l"'"1 _.a..... -nw. 0- ... ". ' '-rI ... i.-.It~_ M·•• MIl ) _ • _., 'i_ (W:Go_ M .pp'-o. ..ilkaI 0Iw&i_}.
Tkft arc .._ ""'" .. WI Half P... ..aq ..... ....ur,i... ia ..Moira•• 01 IM ilI oILMl.a.-1a WM .."....... aMn. 0. .u- Irt.aMl H.aU P _101 .100 _ Ii- 10 _
- ..........ty Ii-- ...... .-- I......,t,. .... '_....m at Soa-a.,. wh' ,...,odf_~.'neft ...~ 01: _.,. • Ik balio4~
_""-" .~ po- .. _ ll' • ~ ,.....-1- "1"_' __vst, .... CUt ... laUa II 11 p._ (aa --.;.....vst, _,..,...1.: Ilu. ia __ 10 _ w'lIt). 'nac.' • SpMMIi
'.. 101"". .Tlot ........... -i"C .,. - .. - r--r ,...,.....~ thoU
.,. _, _ ill • tdMtoI A ....pIc of waU sr.au
..__ • _01: 01 ....,..qooo~ .,..,....., ...
....... tMt _ .1 ., _ ... 01: .......ioI ..... w ftoatt ...._,IM .... _ ilw .........
-no. _ 01: ,.... '"a I/,iAr IIw wi". __
a.-. ..-u ., drlatxicriotica, li.'ft..,h ......idtW. "-'1........nat... wilA1lt ,.... r-,.. '-"c _, 1M _, j_fl ill • P"'C •_ IM_ bIod.. ~ _-.. ...... _ will Ilear _ ..
P"I~ n",. -..... .. ok fan w. ,_._ cfIIi.W ~ .;- ilia _ ton. _. N••U W .......-nc '_ TlIen_ ... j_ ton._.-..-. ....... Ik ...- aM wi.lIi. ,..if.'. H.-. he -r loa..... 'l ...liI, ~Ilno _ ......l.Ilr II.... wiill Itit .tkn.l. ..... ,......... lai-t, "-....... naI.....o willi .~ J...... tAio ..,_ "'" Mol IUlfM .....M••r .. Mjooi of llllr' .... -P.t- 01 .;- ,'"""....., 1&1 w;o,
.. '......,......... "Coualiu' ia 'J~ ....pJ. &lItI 'h,. e-..Iu'.
.....kAI....... _ Crn. I.,,, [I...,..)
II... (wltOfc)
.l><AI..... 11M: Cfal~ ""'"--t..c u-. .,. ~<ed aM Hi wk~ ,.,...woct,.
Aa Alla _Ill"....",h'" dM SUd. " loa" i. acl_......1tI.,. Ila lriaodo (to KUIOwl AI'" 01 llIM _I io .....pI, .. _ h).
1M ..._ -.w ..1 1~ n r'- .. Iw ..,.~ 'rinolo c;1kr.. ...-. (IMa- of.id.1 _ aa &Jl >-&I e--:-- ... ....., .....aI"lQ. ....... -J..--... ,.. r- _ (....... 1..... e-U • ......-1 '" a.o-. ........ ....... aM Wacl -... ._,. • ""'r .. .-.It, .... a.o.o
'.
clot __I~" "'" _., "'.,-r- .........'.......I_-., ................1' .. _ ," If"..... J'pa-l. t" ......• Woo __I""", ...hOd\ _ .. _ in "'bic" ....u..1 oil an__ ~....clN ..,. "" .. ..m-.. ntfI .....hift,. T Polled 'HcrioOc'"~ • wa.... 01 '~I' '" • fa- I,Wood a,. -.A It. ~ood ...... 01.........,u.- ., onloilWT .....1 ~b"""""
J ..-.... ......, 0U'Ud ..,. """ """-M~ .r , _."....,....yly __ ioI cli&tntl. ~l cUc_ I .........~ y 1aII _I!I ., ........, 1Pdo'" ..... II clot W..w.r. sa..l.• ,.....- pri_ ..:a..-.l in 1'1"," \'.n, COo" _1Mn ..., .."""'-'0 aadICKhIn "'-ft" .. '"' _ wi,II ud:l ....... II toot.....nl -"\.ll '" -.t .. Ill. r_•.,D' U'¥ ••U'nCloMllr..' ......1f"d"Iir~V" I ra.Ii.Ieol ... lbor od.-l WU dclH.no~lr "_poi cha..".. uHilOoNol..ca1"'pOl ...lalioooollip WI dw .... of 1 .....__ of ...... '" aU.-,&c;II ... .u-I deni,., _,., .....K. Al_ • _ell I 'cI( n.,. illUOOlOlCiaJ _,..il .. caa.ar.:... '","",,",'MIll "p""'i.". _, ..... __ AI poOoM _, .......,----.""" I .. _, .... jelt ~ ,..' ;·IMI,"- a.a. ,...... odoool ioo "' ,"' Tbf clar Ilriwc I ..I&Ildl.iIoc I~ • ., ' n daa. '1lwy IuooI ..........w -..r ......-.t bn_ UIOl il'4ill al. Tbc' dUldrm ,.ill "0 ,,_,iooo ... h«.... _lLOOl .., .. _ _"" _ ", __• Al_ • "'lUll'_....,. .... lip _ -.. ..... a.- up _.....a iaU'od......t 10.......
·r.N~""'_~--I'. Hna.n. r. P"C ... W ,- 1UChn.--Her..... Ilq', H"lhic MK"' H...bm.-He iuI>4'oJ •• _ 'lid ............. I LI-bN ...... '_nd _lorll al." .....
Mo4ilc. I ....__.od .., pIaq.
-U....obi 10 ,... , "'r' IL-Nvdoo --..t rrii.....-d _, uta" and _ ~..
.... ia~ -.O' IM-W __ .,
..... .,. __ .Iwr ocMeL I 1.-. wUl Vu.LII ........ _ ""OIl( .. .-; ,.. I ...-w.r wjUt daot. Wat
.., _ • ..,..u aM afn.itI dis••~I _ • -H""-n' ......."- _Itl...,...,.., ..- ,., Ilwf.a.&14ru ....w~ ttl liM ,....... 01 _ ... .,. ''U\'~
en. .. IoN _ Ilwf .-i 1._ tIwV ,..... ...a III Ik .-.......u.- .-.. "~" t. ...,. dtoot.,.. '- ~l-. • l_ • ..,. ....-- 10 call __.f AlIorft e.a..."" who ...... aiNodl rint.of Ik foUoowiotc ,...... a.-:
<;1v I·
..
,-
i-
,.I-. \ .,
; J.•,
.'• •
~:·1?p'r:·.. ,.~ .-"':':. ..~ . ' ..._~:;.~.~..
.. '. i: ••
~.. ;......! ... :r!:...; .;':'...... ;.., .
~\ ..I-Cd'. ;:f-oro..,.~
, .: \r '_,: r·...... -
..... :-.-..".!
,::> '.
"'..
~
~ ..;
,.. .::'.'• r';
... J ..... ;
.-
"
..
....... :
· .~.. :...~I
.<) :;;- :, .
, '- ... '?f).. ~! e.:....~\~IIIi··,
..,,.,
•
.-rI~\. .'~
".~' '.';.7I
,j •'-:-...1,_..
~ '.
--...
.. ~l
.~
Y..-,.. .~\
_. .... t"l,t\- ..... 'F".,,~ "',. ")
."'''''~'l.
, I"-,
!
u,
. rC· , .. ,.,
.'.... .-' '.
5oroc1i..- I U"';IO"! dllnoed 10, _ 1"'" 10 optOr.c.l1, ....."'..10 I~. Thll.. 1_ """"' ...... _"... -m iRKnpt__ ..,
0-.;"0'" "'01 AI......N• .$Nru" Y... 0ia
ou.... "_PO p"""'..... Mn~ "';d! ~I _ 1IiIrf_lei"" 10 tor IwW ~""Ic kor lheir _ doc "'"'.., ..1""1 _ lL 710.... in 00.0. ""'" "ld_ a.._ II...... --..tIw lu, y .. mt_ ,hc;, _ c.,dc 01 _10..... _ urr- ....""ft'I thtir \I"", .nd ,...,. ..... ""i!olln l_ i ..
Tlw _II...... Oftlr _ ,.....k 1 ....n•.., lily;.M ........ illl;" the conlexl of ........ 'n P"' bu _ n I _ ..toIllmu"i.o,io" lor Ih_ r-J- .fIIl ind;";"u.l.. 0..... _. " ...... ;",,;'11 .... -an "ne;", t..- DTt(. DTX.LAW'. T1..f. '1"LA10 ·d..... _. Ind •.... Ik .-1· 'Iu..... -.I ,. _t.i.,. poW..~IHom _ LM ...1I1s. .
DTIC. __..'~ IG lill·.no! DTXLANr I""_~.......'d_ to lill Ii.., I -Jwr ,"'Ct.".. Tlww _ • Wlid. uor '-"""""" .11" r .....lMI OJ/' indi..Od ...1 _ .nod .... ,..... _.i_" '0 "hI.
·Sha.... OTJi,' mUM 011 • wall---';.. _ben 0( Ik Jalali ...IrDdr 10 liI"t .1Id DTlU..A"tr _lIIia~ tunaa-. a.lUftc I• ..-oUM. Wlwn "'" l"IIftIlr to ",,""'rod _ ..~ AarU tJn ...poria. - """' • Sku" "lid ... I_prrial ... ""'t ndl .........1IId~1 0:-" le eM... __ ~;.,.... ., -euor MIl ..
lriendo 1_ whal tor if IIWr lad _ .--. .. _
.nc1 OTK .... .....u. Thn"I' " .f! IIOCtMooc-e .. ...,. ..............tht'y 60 _ f:'I unra4.
T1.A ..... TLn ..... d«lanl;- 01 '- ;.. • doc~ ............ """,1;- 01 _. Tl-" _ ....~ "'"" II......,.· ., .•1....,,· .noI nIL ._ ""'" r...-..n·. ~ • ...,. • pi ,.. ..• ohdo.......... _n ltc .. ~.....,.......... "'- ........
·4 :£,
Y...", 1.~.1 ...."'Ift"I...,. oN ",,, ~__IJ
Ilfq~ u A....l~In o. Spitk'r
n..... bo d.a"! ~ oh ..... , n,. IIw 'i.;" 01. ~I>lft.fttdunilOf! b '" 01 cllim. 10 .,.u IJwT bov.. Of, __ III_ u." lOft rieo 01 hW"... ~.. h...... Dnpo\owiD tor cr-d _I ~ lor $h1'U ....idl win _ CI'-.l _I
uoI "l'1M't'd ~ "" """' b"lft .1Id ........ Dnp..s.-r .ml.., • d~h 10 ca.•. T1wrf UI' ,..,.... , p ....
....ldl bonlcr "" ~. dll'"'"'''' ,uri...... ,rw poo.-; 01 'hnol ;1-'''""''~ C'OIIIr<lrod. '" S ... YOI'. Cily, T_p.inl 5qu P",. _.'-tIll ........ by l'wTto a.in".. Polloi\, hi,.... p' briOOT _IrVn' "III .lP:"'"1 uporo. ~" In"..i.... , ...,. if, Irw , COl' lhe' pa"..... _,.nllo~ _ ,...W;r ~ ". The: r'utno a.ig," I'ol;u. ,...... po...." ,!wiT to<>q,",n loy ;" ih~ P"Co blod. I ~.I NtlOrI.n.c hippie ""'".~ wi'h "con ,he'i, _ h."" ....,.inl&. !w.rt&.Ind ,"'" ....., ,....... (TM hippOn 10 ""'td ." ."_"" .........._ ,../fiti. M."! of u.e... .'" .", nd •...,. ,eood .. tll_IK lhe';","frI'l. Ind 10 u"C" ,rw .....1.rtI!I IMy olio<:....... ;" i"II"""'- WIt'- Trwi."."Ii il ud\ ck-a' 10 I CONciowo 1_ of .,u~ anli_ w" ,he....I_II ti.)
Nift .ncI .i,...... ....oh"C ,._ hi> Pftn. TIl.. t;n .f 1M lWirflbothood... ill MI'ft" loll' bot on 11"-'; •• I. malo, II ilapouiloM ."" _.. '"~. a....."dr. 1_ ~...pIc•• r-p .. '-"IJ'I'" In ..... 01 "'....\".n. CilT"lf_u. Ill«idrd 10 u\c~__ Il'wr ~llc"d..,......w.- f_ 'M ....1\ 01 • f,'""d .. .-..... T1'w a«Wl'd ...........,.- ............ -'JhborlMlod •• I"," othoon. fIN lti...,. Wl'lm I.......... of u.r ,-Iht _two"," 'hC'! i"WftOhd ""~.....rqtlit'Ci 1M, il .,. .i 11 ,~ hM 10 do i, ,_IIw u'rvKd I. ~''''",. No _. M >.aid, f....... ",,"i. nl:i.hbo1'''-l _'ll- 1I0y ....,..
TM bou..d....... or • Milhb<othood ort olilllall. 10 d..~ UwtY .~
.. I.......lIonl m.or.ft1o. Ocn.ioooall~ • po'\" nil tnda particu-brl!" 1atJ:r tcJft'I win ....1MiII • nrichhot"-d fWO P'- au."'"cfI~ ....It i"P""ftJMibl~' i........ 0_,," ., ..., p"'.....'1"locTei-. • "'ft'd .......,.. , \. _. Ilw "'Marin"" ..... Mit;/I.-......... - ...,01 ...h., henn- ,. t. On il~" •• P-' bovnd.orin ...Uw ...nol n.. dlllG I! .ppl! ,Fr:........ u. -..~.1U1.ted ,"",po of ~.. JIM! ,i,!'.. 0 .... olll'h c-' liP'"' 'lldl J>"OC'Ia...... aa:
'_paial. Turl _ W.l. Cool\'... ""' 1'11_ tA'Cfn.lI: 0.:0,-, Terri...., _ 10:.
J.....On AII.-rcI•
--,.e
- -
"""-~-""';' ....,J-_.........:•.. """" TooI\ ,,_. ,.... ,_ ,,_. no. e:-_- ...-.,.---_ ..__.-.10_. __...._...... _ ...,_ .......... .. - .. -...._-- .-....ao- ....,.
.fttl~ .-ni.....h." po", ."'" blot1 iftocrip" Hi"" paIid.1t_ caa"'pk. S.OI.-. ......,.........,. ,...joo:u ~~ III .....,.._ ......."1 w.rthotr ..itl> ,.-c ""'"' f ...publie~ I.. _ ooodI ,..jK'.~ COlt. , ...-1ft' 4cd.ft'C! ,--- 0( _ ,..lolie ...u. ,..0-'" _ .....TIM _~_o( tl .. t'- -.110_ _ ..
htniwdT _lho "laod _ f. - _.~ eII'-"Inri-" tMdon 01 J..... _ ... tho a....u. ............ 01 tIw-Uo __ IM h __ if_,..oaitI ~ _ ....U.- I" ... tJIc .... u- "'~ Ia. .. '- ••lite _w.. 01 rn-"~ f.- '111 "~",,, a __ ...do'-.d ....... "_Ok poi.... ';11> boWtr ...w, 1M lik 01 tJIc ......... ...., ... 1"" ,I'd tNl IN odull ."h,......Id ..hidl cartd _ It> .....,..i" i' _Iof _ "" ...... II- II..., .......
... Ilft,i,.,....nr ,...j«u ,~ j.... p..., - ,..ojoo:u.~ ;. ........oniLfM:ia1 .bout bri"';"J ,"""c 'GC"Mr lO Iqi,i",i. IftIkl _ •tJIc i .....", '" 10 lq[j'i"'o.c thor In.. III ,hot~~ .. _II. YelI_thor ida 01 """'''1 ,hc H, ilt _', """i_I. "CO""' .."'11,' _ tMoll. io ( ' ,w4. it ;. _ lil.d! to • ., Ja~ I I"O"P 01 Wad ..wu .M ,....~pmtap _ ..-'wn .. u.: Ibcu-w -.a,,1"' _ .. -.LlI ..........Il&i..... ill .....ftd .e- ,1>_ _ hip\. .............. tJwr "......, ,0 I... iot i. lwt .-., -. _. •
It ;. ' _tift 01 , ,....... tMc --...IT ..,et- -C.A~ ,"-It t"-, W-k ....._ .. _lb w- wl.- hi.. HCf'C U~_., ~.... '" ...;.. of ..... poor.~ lICIo .,..b1ic __ I. _ ..I>ido.~ , chal~ .
_hI''' -. JI....... ....,1 _ ..__II. AMi. '0 pan J'"lolita.~ aft .. cMw .... 1& .... it: • ..ut • _.,.- Iorl_ f'lOl'Ic ..ill ...~ It> .... uw-.
•;-
'.
r1
P"~ and Dt"" mnnbrt. 01 .he , J!'''''P' OIL", Iud> d«l...,ion.• ill he: 0lo-0o;.... p"h1itl~' .....a"''' ,1 IIw tolloo<'''I: _in of ('0<00",,,.. ,.
nO'" all bt ..... l.-n ,tor II:
H«to. n ~"'l" ...., A "1..'"A~l _ A... All. it • Iou
H""" ... DTIO. "...,1, ...... ,..l.._: Hcc'ot. \_ 1ft hil lrit'nob .. Spiokr. """"
... "'" 1 "'"" 10,...A w..... H«,,,,: tIM~A~l ......Ioto.... ~. " ..,.... ,hi".. ~' , H ....1lI 'co IIi'" .fOCI _""'"" "'n. ito '-'0.
TlIno: '" _, U..C...";,j i ,."......l.,r~ d 1»4- , ..,n~. I'll........'"
_wei OUt platc'IJ b! 0 Inn- 01 en'hi "",,lop and• h", I, i. h..d ,,, .... \e 'u, wu 0fI('t' boldl! pl'flClaitnl'd on •••11.I" .he: "tn-tl lIIe il..n i. _0 du••hlt. T'hc1't' In '00 """.. , ~;n...... m.1I' """........ 1."'''1 ,."" ."d dub< ,. I>rn\ "p. fOrd"l prop'"... moo.. "tom OM bind ,......,Mr. ~"' ,,,",all"' ltf'o- I• ..tu"·hood ."tI I~;r ~.ltin ch• ....,. If "OCT ... 1>..\,- l~ In'"f tlwi. old1CTT1lOO'!. (",.... ,r"l ",..h 1M" app n ..n ,tid ta<k. rdI..:,i"r 1M •__..
...... ftCU 01 I ""'1:', hold _ i" " .......... _ .. ~Jl! 1M ft.. i6i,! 01
lile ill "" .., .... p ...II io 01.1"",,,, , rich ~"ll ,...-n,,1 """'" nptno lhrir" ,~,Oti.1
clai M! 'OId.1 ",,,i,"" ... "''''"' llunhlr ........ At.... a. ,.i,,,ill _ ,.........1.. 01 iu " ..,....., ,...., ;. _hiltt ~,."", 10 •ftIr 'M' >I,"',.. ill f'l"hlMn _ in .... ildi,.. •• rioh ........dub Ill., ntIbot.1in j" ,,_ ill .b.... '0 p""""" ."'" "'pot"I'~ TIM.._ ... tIl, a.....o _10 , 'toO, 01 1M :-"'" Y.' y.dllt C ..b·1 .ilOo-i"f: ~_ ,......_ f ;.".. •• , ......._ 'u",",' lQ1I.. ...., .....-
• .oIL o..l~ ~ ~d", d ..b '"'1,.. ..~ ..~ d..nWc. .. thor pocIl, dOlbpraUIMI i.-II '0 "' " eM ,,,!Ct;pt""' ~nan' ,"'" thor ..... i•• II.
"'1 OIi,,1'~~ "C."'" _.. 1_01""''' aft -.ifts. bolock1"
,•
-
"' ..... «.A"...... 5........... ...'lIT
SKlU-$: ARE THERE ANY DISADVANTAGES BEING AGIRL WRITER?
JE.N: I think that, say a girf and a guy have beel and trleywrtIe over her they would be mote apl to write bilch or Wl'\oreover a girl. With guys i1.. not as personal it's JUlt war. GUYIlook tor a way to olJend gin5, they think if you write slut overa giris tag that she win llo home crying or stop goinll overyou. II makes me wanl to go over them even more and iIma~es me mad becaule no one knows me enough to c.aUmea bitch. Guys try to take advantage of girts In that lenle.
SKILLS: WEll. THAT LEADS TO MY NEXT QUESTIONHOW 00 OTHER WRITERS TREAT YOU? '
JEN: II d.ependS on Ine writer, some guys wilt"""e me respeClana be ~ke yeah. I saw your t~lns ana others will be like ohplease bitch. '
SKlu..s: WE ALREADY TAl.KEO ABOUT SOME OF THEDISADVANTAGES, WHAT ARE SOME OF THEADVANTAGES OR SHOULD I SAY WHAT ABOUTRACKING?
JEN; Racking is very easy because people usually woulGn.tex~ect a girl 10 go into a hard wale SIOle to rack Iat caps orpaint
SKIlLS: 00 YOU SEe MORE GIRLS WRITING IN THEFUTURE?
JEN: Yeah. I see more girls genln~ into it you know lhey seeguys gening up and they're like t can Co that100 ..
SKILLS: IS THERE ANYONE YOU WOULD UKE TO SHOUTOUT TO?
JEN: Yeah, I would ~ke to say wtIal lip 10 COST and REVSand the whole KRT crew ..
SfQt.LS: WHY 00 YOU STILL 00 IT OR WHAT IS IT THAT.YOU UKE ABOUT GRAF.F?
JEN: It's a way lor me to e.lpress mYlelf and gel out my
:~~r. Irs like Plltting my mal1f on New Yol1f. saying I was
51alLS: 010 ANYONE ELSE INFLUENCE YOU?
JEN: No iust him. but I can remember being on trle StatenIIli1nd Ferry when I was a lillie gir1.h"ke 7 years old and I saw!his huge RO blockbuster on a roonop. I wa:r;like whal is thai!hIr~ cool. '
SI<Il1.S: WHEN DID YOU START WRITING?..lEN; 3 years ago.
It has come to my attention that a lotmore girls have been picking up cansand going for theirs. I donY mean justscribbling their names up on a wall Imean they are bombing; trains, tunnels,rooftops the wnole 9. I got a chance tospeak with two female writers, (JEN KRTFROM NYC AND REMINISCE TMFFROM SAN FRANCISCO) to find outwflat its like to be a fema Ie writer in themale domina ted world ofgraffiti ..
SKILLS: HOW 010 YOU GET INTO GRAFF?
JEN: Me ~nd a friend of mine (SPESH BTRJ wete hangingOllt one night, he was Coodting In a black book <lind he WillSshoWing me aH these olC nicks. I was !'ascinaled. He waslu(;king around witI'1 my name and was like you shoulcl write10 I just ltarted. .
SMlt.1..S: 00 YOU THINK THERE SHOULD BE MOREFEMAI...E WRITERS OR 00 YOU UKE THE FACT THATTlfEIR ARE ONLY A FEW GIRLS OUT THERE?..lEN' I do , th' ,. .
. n ,n it's a gender Ihing, anyone Who wants 10lWIe should Wrlle male or female.
SKILLs: WHAT DO YOU THINK ARE THE MAJORDIFFERENCES BETWEEN MALE AND FEMALE WRITERS?.EH·G·
. Il'Is don' gel up as much as guys.
~: BUT 00 YOU THINK THAT IS JUST BECAUSE
~~~~ SO MANY MORE GUYS THAN GIRLS?...~ • gins tnat bomb don' bomb hardcore. They're nol•· ...Ict WTrlers ,... - .a,~ , u,elr wnllng doesn't gel notice as much as....'.do II' ~k..... . s e when someOne goes bombing and they can~rt:llly wen but have no impact. but someone el$e canlilt. and he like ten siore gates and people wtlI be like oh
......·00ClFtu . YOU THINK GUYS GET UP MORE THAN
.. __ BECAUSE GIRLS ARE AFRAID TO GO CERTAIN. WlIl;ES?
.lEN: No nOI re lIy IIt. a , think glfls have Ihe same soul 011 :iluyS
Ilcund lhI JoIowing rransc:tlpl at The Graffiti Writers~ 132 Union tIal. At6r5t.lrs size and torma1 made me lhink i1was a religious ~.Upon do$8'r nspec:·lion I r.aued irs purposewu to lns1l'\ld on another !eYe!. I submit 1110 you withoutany edill, 10 read c:arelully ,you saps.
SO YOU WANNA WRITE ON WAllS?!"Thete are a lew lhings you must do before in order 10 make your presence a
weloome one. First; Know N history. Sec;oncI:Know!he rules of tt'Ht game.Third;wort!; tlan:I at being good, or alleast competent. Fo.u1Il: Snitd1es, and shitlalkerl getstildlel and need walll.ers. Fifth; You're good, bul you.... not thalgoocf.Keep your tat head lD a reasonable swell and 98\ back lDwot1l.. These are1tle ftvilfingers 01 yOU" IBn hand. sludy lhem wen. Soort. you'U be able to Qel a grip on yourself 1151gem and we1l aU be better lor it
FlRST1iISTORY~ did It, so did ROlT\8n5 and Egypliarm. The Incas clld it. so did G1wks
and Nalive~.There was gra1titl on 1he New York subway a year attar it1"3$ bUIlt Thefft'5 gn.ffitI on !he moon. It graffiti is Yandalism, and vandabm isgraffiti, lhen man has lett hil marX wi1h garbage at 1he larthht raad'le$ of theuniver$e. So you with your pa1helic desire 10 be remembered are in good ClClfno
pany.l eQuid spend a ream of paper telling you about 1he deveiopmenl of modemgraffiti, but_ve got other ground 10 COYer. Irs Importan1 \tIal you know it, so askyou local expert (or OJ Deadly Buda inPinsburgh if you don' have one) and he'lleU you his vefSion.
SECONO:THE RULES(1) You suck undllul1hef noTice.(2) It's goma lake a long dme before we even~ your exisleflCe,
even longer before we earl bear 10 Ioc* at that 10Ul Sl;1ibble you cal your name. Tospeed the process of ac:c:eplanc:e you can (A) Choose a clevef name trlat defiesthe norm olsimpltlmn;red slang. An e.lample 01 a good name is 'ARGUE" .ltlooltsfly when written, 50unds cool when :r;poken, and conveys a combative anil\lde. On!he o\tler hand, 'ENEMA' (acl\lal name) l00k5. sounds, and cgnveys a shiny alii·~. BE CHOOSY. (B) Use paint. gain knowledg...""ollloUles, be bold. learn asfYle of writing for 8\Iilf)' occasion, f\JdI,~issionwalls, write your name biggerfNef'/1i'ne you go out. don' use slidlers, and resisllhe urge 10 wrile., dust
(3) Jealousy i5 a diesea:se lor me weak.(4) Your heart ts yOUl grealft( poses.slon, cloo' MIl il get laken trom you.(5) Don' write on houses 01 WW5hip, people's houses n general, Olhel" wriler'S
names andlombsrooes. Wriling 00 memorial walls and cars is death.ThMe are me five fingefs 01 your righ1 hand. Sl\ldy lIl9m well. Give soul daps,
firm hlll'ldshakes, al1cl t1vow smooth bolo punches.THIRD: DEVELOPING STYLEAlthough being a lOy seems undesir~, yous~ enjoy II while you QIn. AI
this sU98 you can bile at you wanl with no temors&. AI your eIderI will 58Y is' Awisn, lha1 sweet. kook:hie koold'lie koo.· So $leal lhal dope c:ornection, rob ItIaIcolor scheme, and Iootwllole Ienertorms. Oon'WOff't aboutgM'lg any credit._11pal 0U1S8NeS on the bad\, and brag how we're innuencing Ih8 nett generation.How8llef, sl)'le isn' a crulch Of a schfick. II is understanding wny ttw conection~ou 1111 /IOwli:. Of.,.;,y ll'I8 color scheme you boosted bumps. Style is the process toan appeal1ing end. Once you got 11 down ro a science you can leinventlenef10fmsto suit )'OUISeU. nils creative growtl1 wiD amaze tn8 old and young alike.Pretty soon somebody will sleal your s.ec:tlll sauce ancI the cyde wil be renewed.II !his happens 10 you, don' bitch abOUl nol getting your due. Gral IIIl is !he tanguit98 of li'le igl'lOled.llyour slyte iI slOlen, someone heard you speaking. You gotwhat you wanted !rom D"8 beginning, some att9nDon, you big baby.
FOURTH: TliE LAWII must be nol8d ttlallne vandal squad loves graf lili. Their iob requires tnem to
r..nd fOf grail as much as you 00. 'Nhen you Wfock enough walls, !hey". want tomeal you. JuS! Rile Jock swinge,s. they'l recile eV8'Y Spol you hit. ttle dil ferencebeing you'll also hear the Miranda warning. To postpOne this, solo as much aspossible. Don'wnte with anyblXfy ¥I1lowouldn' fighl for you. Don' be paranoid. 11you avoid wrilng on pristne propelies,youll stay in misClemeal'lOl territory and youW'Ol'l' divert II'Ill cops' attention from c:atdling and beating speedlog molOrisTs. (COf'tosull: Iocaf laws 10 be swe) Remember, it !hey didn' see you con. irs almost impossible tor them 10 win a conviction without your own damning teslimony. Shut Up.Shut Up, SHUT UPI Giving a cop info on anolherwrll81 will doom you 10 a tife 01ridicule. from cops and kids alike, with no parole.
FIFTH: EGO TRIPPIN' .Theta's nothing wrong with knowing you'!e the shil as long as you are. BuI onc:e
you readllhal CCI'ldusion you're on !he verge 01 faling 011. Don' look doWn,latheilid.!l'Ia1 swollen ego wjl ttip you OYer the 80glt. T.KlO is a wliter who's been aeaDngdope mu~ lor 20 years, and he keeps getting betlet. Yow posing and lrontnglooks lellVded nett 10 !he likes 0' him. Gel back 10 work. you tiled Slouch.
In conclusion, gralfiti is tree,lmpresses ctllcks. appears heroic 10 anytlOdywholeadS a dul Iile, wid provide you with a mI_.:1n sto"es 10 Ie~ your dun 'riends. isimmonaJ. larger than life. and a sure cure to the inner CIty blues. So gel 904"'9.fame awaits: !he ny among you.- Mark Surface
-.._ _.. _.- ._- -_ - _ .REM: A friend of mine (MR. ELEMENn used to write and sli~
does- t was hanging 01,11 with him a 101. He used to go 01,11
bombing a 101 and I would go wllh him. I would see peoplelike TWIST and the TMF crew gel up a 101. so I was kind of
interested in trying it out myself.
SKILLS: 010 ANYONE ELSE INFLUENCE YOU? REM: No
not really.
SKtUS: WHEN 010 YOU START WRInNG?REM: About a year and a hair ago.
SKlUS: WHY 00 YOU STlLL DO IT OR WHAT IS IT THATYOU UKE ABOUT GRAFF?REM: I like the frndom of it. its son or like i1nyone can do it.l like 10 get up a5 mUch as possible.
SKILLS: DO YOU THINK THERE SHOULD BE MOREFEM.A1.E WRITERS OR DO YOU UKE THE FACT THAT'mEIR ARE ONLY A FEW GIRLS OUT THERE?REM: It would be nice. I wo!J1d like 10 see it more. but itwouldn't change my ~!e dramatically. There are a lot offemale writers out here in San Francisco. There is a seriouscompetition among the gIrt write~ out here and that can getkind of tiring. Its like if there's any bee! its usually amongstourselves ( The female writers).
SKlLl..S: ARE THERE ANY DISADVANTAGES BEING A
GIRL WRITER?REM: No. no if anything l think it's more of an advanlagebecause we can get away with more.
SKlLLS;WHAT ABOUT RACKING THEN?REM: Yeah it's easier ror girls. I can rack a 101. I also have acar which helps.
SKILLS; HOW 00 OTHER WRITERS TREAT YOU?REM: I guen respect because I'm a girl and I get up a lot:I've also done a lot of roonops.
SKILLS; 00 YOU SeE MORE GIRLS WRITING IN THE
FUnJRE?REM: Yeah, I do. Ithmk there always has been bul recentlythere have been a 101 more girls writing. 1 hope girls keepwritirlg...fuck yeah. it's always been male influenced and it'snice to see a 101 of girls 01,11 there doing it cause there's norelllOn why they shouldn't be .
SKILLS: IS 'mERE ANYONE YOU WOULD UKE TO SHOUT
OUT TO?REM: Yeah. what UP 10 KR. SHOK. TWIST, OUG. OEEN.CYPHER. and the lest 01 Ihe TMF MOB and also my
mom ·················· -G NICE.
ANSWER KEY:PACE 4: BIO NYC, COPU NYC, SIEMS NYC, DUEl'( N'(C,
KAWS NJ,IN CONN. WI EMIT, BOSS BY KAVES, BROOKLYN.COAX, CAll. ....
PACE s: JEW BROMX, DREW CAll, LAPSE CALI, KINGIS1 UNHOSE, CYCLE IN NYC, LIES BY SNO AND RANGE.
RqCHESTER, NY, EASE, HORIDA, COPE'Z BRONX, RACHEtLEBY PER BRONX, BARON I NEV NYC, TRACYI61 NYC.
PACE 1: WOLF I TEAM NY'C, DUC SAN fRANCiSCO, TWISTSAN FRANCISCO, Milk AMSTERDAM?, SHAZY 8Y SHARP WI
SMITH NYC, EMIT IN VERMONT, CLARK 10 NY'C, DUELISTNYC.
PACE I: MEU NYC, ARAB BY DOC NYC. WEST I MORE IBRUE NY'C, CHARACTER BY SERla NYC, FACE BY CYCLE IfYC,
KR I TWIST SAN FRANCISCO, KINClS1 SAN HOSE, SMITHQUEENS.
PACE9: TORE I YES: NYC. TEN PAK BY SANE NYC. cn Nye.DUHA NYC, HaTCH NYC, SlUE fLORIDA, DREAM CAU. EMIT
CONH, TWIST SAN fRANCISCO, WYU BY KINCIS1 IN SANNOSE.
PACES lvn: CAY HYC, WANE I WIPS NYC, MIKER BY IUN.B BRONX, DASHt67 I ABOMB flORIDA, MYTE CAU, III SAl
NYC, TI(ID NYC, REMS I SEI( COPENHACEN, DEEN SANfRANCISCO, DERO I JEt NYC, CIRCUS CAll.
PACE 14: DUELO NYC, SWATCH NYC, SIN NYC, EAD NYC,DESA NYC, DUC I SHOK SAN HlANCISCO, VEHER Nl'C, CAP
UONX, JEN NYC.PACE t6: OLD SCHOOL BY SHOK ENGLAND. HIY I POE I USHELSINI(I, MILK AMSTERDAM, EGS HELSINKI, HIV HEunllt,
STONE CERMANY, MINE CERMANY, RENS COPENH,l'EH,PA9E 17: XPRESS CAll, SNO IfJ, 'WI; RASTA I JUNGLEGREEN 8Y kiNG 1S"1 SAN HOSE. SP.ROC BOStON CHARAClE'
BY KURU BOSTON, PENGO CHICAGO, LEAR I M(!tIC MR,CHI BROOKLYN, OIL By ERNI IN CAll, SLICK CAll.
PAGEtl: REAS NYC, SR ns NYC, MIRAGE NYC. EA NYC, SOlI SET BROOKlN, SP.ONE BOSTON, GHOST NYC, OLD (N'LISIII PH BROOKLYN, II QUEENS, DEAD QUEENS, DElII" MYe,
DE BROOKLYN.PAGES 'Z0/'Z1: GAlE MYC, DASER BY REM'Z TORONlO,
TWISTER BY OUC /TWIST SAN FRANCISCO, NOMAD BROI.,·BUGM BY SLAM QUEENS, BISARO, DEEM, Due sA"
FRANCISCO, TMF BY KR SAN FRAMCISCO. CO$$T IIEyJNYC. REtM MASS, SLY BOSTON, JECKLE? CMICACO, TWin
SolN nolttClscO. DEE'Z BY WOMBolT BOSTON, SEttTO ,ROIfJ.CHARACTER BY SNOW NJ, DOLE I JH MYC.
KEEP THE FLICKS COMIN...
•
.L-A T'Y>Je3 Nov, 18, 1'1'13
Tag LinesTwo Graffiti Practitioners Profess TheirCraft to a Class of UCLA Undergraduates
VIHCl:OOMPACNON£ I I.... 4l11flunm..
Elick (Duke) Montenegro. len. and Joseph (Nuke) Montalvo speak to art class atUCLA. They were Invited on campus by muralist and vIsiting professor Judith Baca.
By SIIAWN IIUBLERTIMES STAFf WRITtR
Th~ 1111 &0 .shorl, thl! crall So long tolnne. Chaucer knew the dilemma well.Six hundred years, and art has nolgoUcn olle speck easier.
BUl hark! The voice of hope! OK, U'sactually the voice or a lagger named"Nuke," Bul his advice on Tuesday wasgood enough to confer on a room full ofUCLA undergraduates, "Hook up, calmdown. know what you're gonna do-andthen bust" Don't laugh. They looknolea.
Say what you will about graffiti, noone ever said the lUe of a spray painterwas a cushy one. Some look at the LosAngeles River bed and see a pox oftangled ganglia. a lurid mess of bulbousleUers and oversized chicken scratches.But to the connoisseur, Is"ues abound,The fluid New York style versus themore linear Los Angeles approach, thechallenge of can control, the Issue oftips. The shallow derivativeness of thepo!It-Chaka era. Not to mention the fael
that It is, ahem, against the law.These and other fine poin13 of the
craft were up for grabs Wednesday,when veteran graffiti arllsts Joseph(Nuke) Montalvo and Erick (Duke)Montenegro. ages 23 and 2~, respectively, were the guesl lecturers at WorldArts and Cultures 130, a course In therole of public art being taught byvisiting professor and well-known mu-ralist Judith Baca. .
Baca, an arts activist, said her aimwas to explore the "fine line betweencommunity sensitivity and censorship"-the subject of a video pre<:.edingthe Nuke and Duke le<:.ture.
"I do not believe that we can In anyway condone aerosol art as a medium,"Hannah Dyke of GrafnU Buslers of :Sylmar lold the camera, complaining Ithat uggen In her neighborhood have' :become 80 arrogant that one local group I
was calling ll!elf JMU. for "Just MIssed IeUs:' A spokeswo!J1an for the city's Ianti- graffiti Operation Clun Sweep saidtagging creates blight, not 1ft
Pie... It. GRA.FFITI. B4
I
GRAFFITI: TaggerS Talkto ,UCLA Students, ' '
ContiDued from BlBut in this setting Nuke and
: Duke got in the last word, with awide-ranging look at graffiti andthe oullet for self-expression theysay it oreer'S for the poor. Althoughthey did not detail it for the class,both young men were raised in theleSs privileged quarters of LosAngeles. and-inspired by the verymurals Baca helped paint-saythey found in graffiti an alternativeto gang life.
Over time, they said In an interview afterward. each honed a style.gradually taking his work moreseriously. Eventually, they joinedEarth Crew, a group of environmentally concerned artists (theyuse spray paint that is devOid ofCFCs) that ~has -done muralsthroughout the United States andMe,gco.~'We have a creative impulse
that never stops, no matter whatyou do," Baca told the class. "Likea river. it will now, and if you blockit, it will find many ways to nowaround the obstacle."
AU right, one smarty-pants inthe back row conceded. but "3 lattapeOple say tagging's already deadin New York."
Clad from head to toe in blackblack sweat shirt. black baseballcap, little black beard and ponytail,
and big black shoes-DUke fixedhim with a long-suffering glarewhile the gentler Nuke, sportingan American Indian medicinewheel. patiently explained thattagging has simply gone underground in the Big Apple. andanywaY,lt is different there.
''In New York. they had to bustthings qUickly because they wereworking on subways. Here wehave more time," Nuke pointedouL "We're more into the line,getling that can control." Hepaused. giving the class time torealize how tough it actually is tomaster a spray paint cal!- Simplyde<;idina w,hi~h type-of nozzle to
"affuc to your canister is an issue.not to mention a hallmark of LosAngeles graffiti, where, accordingto NUke. taggers are renowned"children of the can."
The nozzle determines the line,he says. and offers vast options forthe resourceful artist, ranging fromthe delicate script afforded byLysol can tips to the broaderstrokes that come with a so-called"basketball tip"-3 nozzle (Nukeand Duke won't say from whichaerosol product) that is a sort ofpoor man's airbrush. creating 3swath of paint as broad as abasketball.
Then there is the maller of the
notorious lagger Chaka, who wuarrested a few years ago for spraypainting his name on thousands oflampposts, road signs, underpasset.curbsides and other virgin cameraof the land.
Nuke and Duke look sad whenthe Chaka thing comes up, sincethey view his notoriety as a sort oflow point for the medium. BeforeChaka. they say, taggers-or"writers," as they refer to lhem_took ti~e to practice and developtheir marks. A tag would evolvefrom a set of mere letters fa, say"stylized squiggle or a fat, colorfulblurb, and from there. the workwould broaden to encompass see.tions of concrete. and eventually.entire walls.
But after Chaka. they said. tal· Igers began to value "quantity overquality," and the true visionaries ofthe medium were overshadowedby the knockoff lypes.
Still. they say. they have theirheroes. known if not to the avengeAngeleno, ;'-at least to each other1Angst. Hex. Mear. Slick, Anla'.Risky" Power. Skill. Toan!, Teck.The list goes on. And these, Duketold his students. are the LaQel'Iwho will leave the legacy.
"The ones that have heart.·' headvised the class. "will stick In thegame. Entitn.t:k3?"
lUI'C$lurk,~ for a Ilary. AD who Ww1M imaJt; brins wi!h tbo:m thaT~ Iikcrpnicnca and an in:crpm thr conlenl
'"""""'.....Un(ortun.tdy, no on( will s« 1M:image if th~ comrnissioncn of t/w Boardof R«rcatioo Ind Pub baYE thdr way•'l'lqo want:o I<etp TDl' liknl unksIl paintsmiling. ham people boldin, han<U.
Graffiti aftilu hl~ b«n paintinC th~
grlffili pil for decada. bein, Irrat((iwltik othcn profit off the piau. Film~ ofu:n we lhc VnUu vafl'iti pil finnx:lt~ mcnoic:s, Ind postanls. TheurUqru Ilf«l 1ft KIU.I1Jy .nneto toIlrUu.
Th( original mural that I elrolttd inAupllll997 ~t:ia.1Iycriticized Ibwesof power .nd revulcd Ill. ilnpon:an: vi",point Clp.bk ofcut'tlilil>C"ioImot.~imace WU inu:rprdrd by W rmdiI uban.&an l..A..P.D. officn- butin, I )'OIllhofcolo" althOllgh nothing 'J'«iliallyindica:rd tm
Pcopk couJd inlClpl't'! dl.iI mural how""" IMywantcd.!Nt:he faa rm'IIinIthaI there II'C dcfinile IblllG of powa' inaocktythat need to be ct>ccIttd Wittl OGCI·-.ionIl airiciun.
What IliII pW2la "'" is how DO mceliaCll""eragc WU V- 10 tlw otbu b.I1f ofClUl"tnm'. murU 11 ckp;ctcd 'l'OlllI.Imarr rcadinz. book.
11M: Board of Recreation and Pa,ka ;.tramplinc upon tho: frtt .pccc:h rizhll ofthe Amnic:an peopk. lIS wcII tI my 0WT'l.
In • juIl poIiliaJ aocicry, pcopk~t!I( rich: lO hear opinio!u of othn1. .nddcei<k for !h(mKlvu with diJniry lISindividuaU wllal iJ sood Or ~.N. JohnStu.n Mill wrot~ in On Ubmy.·Govtrnmenl inoulll ill ciliuN and dmicI moralr~spo:u"bililJwbnr it decrlCS that th()'cannot be IrUl~ 10 hcar opinioN whichmi,h: penuld( t1wm :0 dan&(roIlJ orofUmivf; conviClio""•
lroniaUy.1hc Getty tn:Il ;,. CUfrtlltly
makirlIlli:tik dl'ort to~ :he dc&ccdmural AMcio:l Tn>piad. lhir. potiticaJIycharpd mllral....,ma~ in 1932 bytbe:ladu of t/w Ml:Xia...., mural I1'IOVCmcrll,Da¥id A1WoSiq~ and datrored byfcdn'al """'1$ shortlyaha ito~Now thai Siqt>eizw iI dcad.an:~arc tryirr, to ........&( Ihc: Il".utnpicu.
.....( nft'd lO It'! invoMd in the srruwcInd Ium from th~ mistalta of W. ~LTb" ¥iliomof ..."t!stoluch lIS myK!f do001 bcc:o"'" positi~ :!".rt>u&h tlCplit'r:odnfo1ummt md cnuonhIp. So mmykinch of people cciII and nobody'l ..woniI coctly 1M um~, /kfot( I die in tMwUl: ofI jad<cd oomry.1 hopt' to 1ft
aativc pcopk c:omc lOl"lber to 5Ytt theczpIoi1r""" prxtica of tn:ll-tlI.:ceaIcnI'I'I>f<I:ion~~fl.d Ihr.r t:mt nf I"," o:Ir:h
Wt$Consil
tt1tTY-)' lO the main cdu.}itins an:aJ,__ '
~ lor J>"1"C"u with dilldn:n.Bdic'rinS that silll.l&£ WU unworbbk
Jiv'rn the natut( ofUK corridor,flirt>rolher and Gala CIDOIIkd tlw Wlw."Ea<;h month. K'tCr.I! tboUAJld 1CbooldUldrm tOllr !h( mwnlm, u do o!h(rdivcnc STOUP" To ahibit 1.Inpy'. workin IIW/way,~~ wuuId not hi..,I~ about ..wwin& it. -..Id be We.~ of thoK .1H6mcr:·1 rish:s." wn;IttGat«:o .!>Other pho:OVlphn who protesttd !h( <i«ision.
Many in the loca1aru comm.uniry rosedcorxm'lS that the inIiItmor ocrlabcli:lcdcriooW TIOI &om the utiItic Rd but fromthe mwamr'l Knior finInd,d ol'Iicm..
Lan&Jry illIPK1 bcoUHW fftII wwent out of h(, way to I«Ommodau: themllK1lm'l·con«rns about '&.mUy 'IIi.ocs..- 8aiCc:s wkctinC'·CCllIXr4ti'oc~
'l'OIlp of wo,kI, w avrcd lO display tlxpicea wit!l oudiry hisMr 10 that they~~ abcM molt cItiId~n"~ Icvd. Lan·Jlry dM$ not c:onsid~ tIw Donomnrfl."4>r.J:-..at Ibow to be an~t~ l~'pbumm:. Thil a:hibit _ timed to tIK~ of hn- book a::d oM docI nock"ow ifL'!is wotk will interes! hct in 1999.
"l'<obody wilU in this $illlltion: 4:1cJry:old SCfE.
luI in~r warm,cW.an homa m.ay notfcd :idded with ddilht by tbt ima&a Io;rn:~. Tl>r imaCCI Itt not fuU ofmomgrand(ur but It( influ«! with t1w $lIffa·ins-. tll~ Slr(ngthl,.nd tM upiratiortJ ofOPl'raied Pft)pleI!hrovchout w world.
....'by am ,.umeTl>r izr..,. thar I dcsiped for tbt~
p2ffiti pi!. that _ onuored~umy
own view of aociny, I>Ol mmmen:ial into:r.sIS, and reOO on w poww ofA~and'mbieuiry, My pi iI no! aoIdy co offmdpoopk, but rathft to 'fI&rlc _ inu::rcsl in
tbt- motioN ofpuwc lhat 10~The mural will contain no rwastikas,American f1a&'o or LAP,D. badSG. It simptrdcpicu. pant pie: pzinguound tbtc:omn ofl run-down buiJdi:'c.llItho:fo:qrognd I =an r>.mI~ frocn abcbc:uI and puDs his Qd, alcq with him. Onlopoft/l(:~ linn tbt- mtdia v\ll-
~Pom TaX- Repeal Proposed
WLS<:OlIIin s:at( re-preKlltlltM: DanKau£m propoHd I TCpQ! of the: a:at~ tu.
orr~I:~ ...masdftmtd "'!:lnnf:l11Omir....,"t""! ~wmr~ Ind inlm<!u«t.
book doc:ummtin& I."~ pho!ocraplo....fai:blOlha oI!nro Unglq IpKC in •corridor L'w M ....d~ lIS anahibition &Ja for iol:aI up-and_inSan.isu. UnckY u>d Fai:bror.hn wolUd~th~ggmpilinl wh.t, ICCOrdinS to4:1;.ky....... 'WT\(" ld«Iion oflwT;>bocopapftl that conWned IImou no'l\lcliry--·anlythrft brasa iD60 im.aga.." The atu"bit _ aho 10 incIudcphotov.phlw had Wen ofhcr ~kkrlylunu.Lanckr pre-partd wall ten on"t/whwnaniry ofwomen asnsiOerct «UlluKby 1OCir.'r: 1'llis WOI'k_.~ by:nwn:rn d,«<u>, )..Ii",' GI!a.
But publK.. iI Wo utilized by c:orpontiona b billbc:-..06 and mlD'&ll, D1:ItincQ)DSWnC"~"C2IbJn.I tnt'ttu..E~whm. dw public iI bombardtd with Pantctlr'I\rnCf'cia mu'" Ind biIIbouds !'atIa~aM ITICl« offenIM !han lht mural I'mfishtins lOr. "lhesot~ cyaom doI10l~ in:rp'Ilo: auo dw I&ndIc:aptbut inlaltionaDyond out JO~
notio: than. TI\( idcu, ~1leI,and monIityhiddm in tlIc:K ltCM:rliIanmu often~puIso:~but ICO 0l:I with rrryday aM Ila~
a IInXlF" ICDW ofwho 'un.My an is rrry a;lnm"bution ItlIoOCiotty
and~ who iI mti!in, and ouccns-
s-u. M '*'-otlotil!l_ '" -..-.nthai~ lI'IIJ tIO: llrIIUllItlIt!llt~
~r iqUIt( block in th( coUrlIry.Mlrry~Ic newt learn to ~pcak English, ~ryfew Ad Ilifhn ec!\KItion. and grMl"ltioru.emain in powny.1 doooiy~ I
~ of my nrilhbo:hood.I n:rmd ukir.C mysdf I \01 of qUe:$
tiotu whm ImnS in downtown Ind I~tm_reb for th~ Ifl.lwcn.
PIlblic art ir.1~ wopon 1;1'
pablc of pinpointinJ corroptiotL. mliriz;nS abuta ofpow't'r.lnd '"ning~'I.......~n(SS of opprmiw rondi.loru. Th(VQ~ of 1O(ia!p~ tu"" llistoricaUymack thnnKIva hurd lhroush the- a.rtl.Tbc powtI of public Ir. is UlI.,,..:chtd bycuri paintin,.and hal In iJnponant rokin MKinyb«a~of :he- 1a!Je .ud;(rla it""chnu",,,U lIS th~ vall1lbl<. KKilI crili·
'I.av1inl\llll-
.In.ytt with New Yorkal for ftft ExP'<tIIiom..l &;rO\>p !ormaI. IQ p_1bote::lIoOrW Itf£"" of New'tork mayot
iIldolf Gui1iani1 a;tmsM cit)'"rmcwal"p!u>. told NCFE that the IOOi:rlC 'foma _ .dull bwmltUel inlO indusui&l1t(U or compktdr'Ollf ofciry Iimiu."It turns 98 pm:M! of th( dry into.~p '100.(, The: '- rqnacnuo w-.~ cmoorJbip ksilbtion in I
~"n-... Scwnd Cimsn l"Clotd iD
r:lid·Mardt apirut Kparau: dairn.I"'*byCozy Cal>in, a ub&rc: dllb, that !h(toninClrw iI uncorutilUtionaUy discrimi.CllOry bcauw it r~teI Uw: GpO$W(
offr::lalc,a:lCI GO! r:W~.brUIlI.-G~s...YOl'kcny. objoectiYe, w!Udl1s DOllO~cithn &mckr" lCllualiry bullO~:raldrcus that flow from public me.tlllIllO tho: COOndllCl inYOhlcd. _ mUit~ !ha: ew, public reaaiolll to tbt
. • of the: fnmle b,CIIl and the=:bfnst arc hishJr ciif!"(rc:nt,. thc c:oun
=
Artistic Freedom News &Updates
/Ir llicMrd TlI)'lor....'hydo I ocatt public~
I am a while mak and 22 )'QtI old. I~ up in a coasWIDWn near -.ll.osAnS¢L.s Ind atTrndrd Ioc:ai public KhooU..SIn mllcis<:o Statt Uniwrsiry, and the:Art Center CoUty of~ in Puadma.1ll19931nd 1994lliYrd~ \of'Ofkd in a~ iD dcrwnlOWn LA. UtlliR tho:Maican-~ r.ci~borl>oodo thatdominat(!his IIU, min( "'"lIS I sq~
m.ilo: of run-down ter>(rnmt bIlildin&,IlooISid<: t/I( nIi:u of old Il'WUIoIll thatilK now honx to SaJva.cIonn rdl:p who!lee! wa: in tbcir<:oUllrry. The Mip.bor.bood h.acl Of\<' of t/I(~ munkr' rata
Silence is the Fool
Ulegible by childish scrawls are eon~
cemed? Is she aware or the tremendouscosts. public and private. or removing thestuff?
rd say I'd like to see her home gelcovered with the puerile spray-paintscribbles or these inranUle ego strutters•but she'd probably find it a "vital andIire.arfirmlng slatement." And besides. herblighted neighbors would then be rorced toeither struggle with that fine line betWealcommunity sensitivity and censorshipthemselves, or just throw in the towel yel.again and become just a little bit moredemoralized. ...-
DAVID PATRICK PABIANLos Angeles
• It appears that the administration atUCLA just doesn't get it. As if it wasn't badenough that Michael Milken is educatinctheir students, they now include COUl'St$ onhow to damage individual and govemrnen·tal property taught by admitted criminals.
Do the people we have entrusted oureducational s}'stem to have such iii lack ofbasic common sense that they wouldencourage training in how to commit theseillegal acts? Is there anybody in the chainof command at our universities who winspeak out againstlhese atrocities?
If the state university educational sys.tern continues to offer courses such asthese, we will all end up paying more LUesfor police protection and new jails. Only irthe ciliuns of this state speak out will anypositive changes be made. Let's moveCalifomia back up to lhe top or theeducation list.
MICHAEL L SHAW.• West Hills,
L ,-r e.> Nov. 2. r; 1'\'13• ..,. (/1')1 J ,
"M efro' p. B"
A. STANTONLos Angeles
• It's inVigorating to see that irresponsible.3OCial sentimentality is alive and well atUCLA in the person or visiting instructorJudith Baca. whose stated aim In havingtwo grarnU vandals lecture her class wasto explore the "fine line bet~~~ community sensitivity and censorshtp. 1 sugg~tthe only "fine line" to be drawn whereBaea iI concemed b the one across hername on the UCLA payroll., What side is she on, sensitivity's orcensorship's, where rreeway siJ;!:ns made
!-etters to The Time. . 5
• In response to "Tag Lines: Two GraffitiPractitioners Profess Their Craft to a Classof UCLA Undergraduates," Nov. 18:
Unbelievable! Onee again The Timesgoes oul of its way l? pUbl.icize graffitipractitionerz. Your article tries to define.this illegal practice to the "connoisseur"and the post-Chaka era? Exc.use me! This isillegal Of course. Judith Daca. the visil!ngprofeSsor, wants to "explore the fine Imebetween community sensitivity and censorship." Ms. Baca. bere.is l)le line-it isillegal! We are Ced'\Jpwilh this and: y~s. weare' ~live Co this! And no. UllS 15 not
, censorship!1 suggest Baca should take her commu
nity sensitivity and censorship Ideas to thepeople who have to pay hundreds andthousands of dollan to remove this "cralt"from their homes and businesses. I believethen she might find that {ine line!
Thank goodness these "artists" use "environmentally correct" spray paint as theyruin private property. Please.
KURT KNIPPERLos Angeles
• Who are the stupid people that want to'honor taggers? U you honor them, ho.norme ror rumishing th~ taggers my bUilding walls ror them to practice on and rorwhich I have paid hundreds of dollars tohave painted over.
When you honor these jerks, all you do isencourage the others to keep up the goodwork and improve their artistic ability onour walls, our buses, our telephone booths;our world.
Graffiti Lesson'atUCLA Class
