The History of GRAFFITI

Graffiti is the name for images or lettering scratched, scrawled, painted or marked in any manner on property. Graffiti is sometimes regarded as a form of art and other times regarded as unsightly damage or unwanted.

Graffiti has existed since ancient times, with examples going back to ancient greece and the Roman Empire and may range from simple scratch marks to elaborate wall paintings. In modern times, Spray paint and markers have become the most commonly used materials. In most countries, defacing property with graffiti without the property owner's consent is considered vandalism, which is punishable by law. Sometimes graffiti is employed to communicate social and political messages. To some, it is an art form worthy of display in galleries and exhibitions, to others it is merely vandalism. There are many different types and styles of graffiti and it is a rapidly evolving artform whose value is highly contested, being reviled by many authorities while also subject to protection, sometimes within the same jurisdiction.

Modern graffiti

Graffiti is often seen as having become intertwined with hip hop culture as one of the four main elements of the culture (along with rapping, djing, and break dancing). However, there are many other instances of notable graffiti this century. Graffiti has long appeared on railroad boxcars. The one with the longest history, dating back to the 1920s and continuing into the present day, is Bozo texino. During World War II and for decades after, the phrase "Kilroy was here" with accompanying illustration was widespread throughout the world, due to its use by American troops and its filtering into American popular culture. In the sixties, its popularity was eclipsed by American graffiti proclaiming that "Yossarian lives!", a reference to the protagonist of Joseph heller's novel, Catch-22. The student protests and general strike of May1968 saw Paris bedecked in revolutionary, anarchist, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary"). A famous graffito of the 20th century was the inscription in the London subway reading "Clapton is God". The phrase was spray-painted by an admirer on a wall in an Islington Underground station in the autumn of 1967. The graffiti was captured in a now-famous photograph, in which a dog is urinating on the wall. A popular graffito of the 1970s was the legend "Dick Nixon Before He Dicks You," reflecting the hostility of the youth culture to that U.S. president. Graffiti also became associated with the anti-establishment punk rock movement beginning in the 1970s. Bands such as Blag Flag and Crass (and their followers) widely stenciled their names and logos, while many punk night clubs, squats and hangouts are famous for their graffiti.

Graffiti as an element of hip hop

In America around the late 1960s, graffiti was used as a form of expression by political activists, and also by gangs such as the Savage Skulls, La Familia, and Savage Nomads to mark territory. Towards the end of the 1960s, the signatures—tags—of Philadelphia graffiti writers Top Cat, Cool Earl and Cornbread started to appear. Around 1970-71, the centre of graffiti innovation moved to New York city where writers following in the wake of TAKI and Tracy 168 would add their street number to their nickname, "bomb" a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—"all city". Bubble lettering held sway initially among writers from the bronx, though the elaborate writing Tracy 168 dubbed "wildstyle" would come to define the art.The early trendsetters were joined in the 70s by artists like Dondi, Futura 2ooo, Daze, Blade, Lee, Zephyri, rammellizzi, Crash, Kel, NOC 167 and Lady Pink.

The relationship between graffiti and hip hop culture arises both from early graffiti artists practicing other aspects of hip hop, and its being practiced in areas where other elements of hip hop were evolving as art forms. By the mid-eighties, the form would move from the street to the art world. Jean-mitchel basquiat would abandon his SAMO tag for art galleries, and even street art's connections to hip hop would loosen. Occasional hip hop paeans to graffiti could still be heard throughout the nineties, however, in tracks like the Artifact' "Wrong Side of Da Tracks" (Between a Rock and a Hard Place, Big Beat, 1994) and Company flow's "Lune TNS" (Funcrusher Plus, Rawkus, 1997).

Origins

Between the years of 1969-1974 the "pioneering era" took place. During this time graffiti underwent a change in styles and popularity. Soon after the migration to NYC, the city produced one of the first graffiti artists to gain media attention in New York, TAKI 183. TAKI 183 was a youth from Washington heights Manhattan who worked as a foot messenger. His tag is a mixture of his name Demetrius (Demetraki), TAKI, and his street number, 183rd. Being a foot messenger, he was constantly on the subway and began to put up his tags along his travels. This spawned a 1971 article in the New York Times titled "'Taki 183' Spawns Pen Pals". Julio 204 is also credited as an early writer, though not recognized at the time outside of the graffiti subculture. Other notable names from that time are: , Stay High 149,, Mike 171, JEC *, Stitch 1, Joe 182, Joe 188, Junior 161 and Cay 161. Barbara 62 and Eva 62 were also important early graffiti artists in New York, and are the first women to become known for writing graffiti.

Also taking place during this era was the movement from outside on the city streets to the subways. Graffiti also saw its first seeds of competition around this time. The goal of most artists at this point was "getting up": having as many tags and bombs in as many places as possible. Artists began to break into subway yards in order to hit as many trains as they could with a lower risk, often creating larger elaborate pieces of art along the subway car sides. This is when the act of bombing was said to be officially established.

By 1971 tags began to take on their signature calligraphic appearance because, due to the huge number of artists, each graffiti artist needed a way to distinguish themselves. Aside from the growing complexity and creativity, tags also began to grow in size and scale – for example, many artists had begun to increase letter size and line thickness, as well as outlining their tags. This gave birth to the so-called 'masterpiece' or 'piece' in 1972. Super Kool 223 is credited as being the first to do these pieces.

The use of designs such as polka dots, crosshatches, and checkers became increasingly popular. Spray paint use increased dramatically around this time as artists began to expand their work. "Top-to-bottoms", works which span the entire height of a subway car, made their first appearance around this time as well. The overall creativity and artistic maturation of this time period did not go unnoticed by the mainstream – Hugo Martinez founded the United Graffiti Artists (UGA) in 1972. UGA consisted of many top graffiti artists of the time, and aimed to present graffiti in an art gallery setting. By 1974, graffiti artists had begun to incorporate the use of scenery and cartoon characters into their work.

The Chopper History

In the post-World War II United States, servicemen returning home from the war started removing all parts deemed too big, heavy, ugly or not absolutely essential to the basic function of the motorcycle, such as fenders, turn indicators, and even front brakes. The large, spring-suspended saddles were also removed in order to sit as low as possible on the motorcycle's frame. These machines were lightened to improve performance for dirt-track racing and mud racing.

Forward-mounted foot pegs replaced the standard large 'floorboard' foot rests. Also, the standard larger front tire, headlight and fuel tank were replaced with much smaller ones.Many choppers were painted preferably all in either flat black or in shiny metallic “metal flake” colors. Also common were many chromed parts (either one-off fabricated replacements or manually chromed stock parts). According to the taste and purse of the owner, “chop shops” would build high handle bars, or later “Big Daddy” Roth Wild Child’s designed stretched, narrowed, and raked front forks. Shops also custom built exhaust pipes and many of the “after market kits“ followed in the late 1960s into the 1970s. Laws required (and in many locales still do) a retention fixture for the passenger, so vertical backrests called sissy bars were a popular installation, often sticking up higher than the rider's head.

While the decreased weight and lower seat position improved handling and performance, the main reason to build such a chopper was to show off and provoke others by riding a machine that was stripped and almost nude compared to the softer-styled stock Harley-Davidsons, let alone the oversized automobiles of that time.

In the United States servicemen returning from World War II were looking for a thrill. Many veterans had been trained to work on automobiles and motorcycles and were looking to add a little excitement to their post-war lives with their newly acquired mechanical skills. Motorcycles and Hot Rods were the perfect hobby for them. Motorcyclists bought up surplus military bikes and removed all the unnecessary parts like windshields and saddlebags to minimise weight. Rear fenders were "bobbed" or shortened just enough to handle a passenger and keep the rain and mud coming off the rear sometimes removed the mirrors, or replaced them with tiny ones, such as the type used by dentists in their work.

This type of home customization led to the rise of the "bobber". Then in the 60s, motorcyclists found that a longer front end allowed the bike to run smoother at faster speeds. The degree of neck rake and length of front end was modified on these bikes with this in mind. The Girder and Springer front ends were the most popular forks for extending in this fashion, although this does make the bike harder to handle at slower speeds. Nevertheless, some choppers have extremely long forks; as one biker said, "You couldn't turn very good but you sure looked good doing it."

To build or chop a traditional chopper an unmodified factory bike is used (usually a rigid Harley Davidson) and everything unnecessary to either move or stop is stripped or chopped off. Then the engine and transmission are removed and the frame is cut up and welded back together to make it lower and lighter. Performance parts are added or modified to increase speed.

Today's chopper era

Choppers have enjoyed a large following. Companies like Jesse G James' West Coast Choppers

have been successful in producing expensive traditional chopper-style bikes and a wide range of chopper-themed brands of merchandise such as clothing, automobile accessories and stickers.

A distinction should be noted between true chopper (or chopper-style) motorcycles, and motorcycles, or 'custom cruisers'. Despite the name, a large percentage of the motorcycles produced by popular companies such as custom Orange County Choppers, Indiana Larry, Falcon Motorcycles, Warlock Motorcycles, and Von Dutch Kustom Cycles are better described as 'custom' bikes rather than choppers.

A distinction should also be made between choppers and bobbers. Whi

le both tried to improve performance by removing any part that did not make the motorcycle perform better, they differed in an important

way: bobbers kept the original factory frame, while choppers have a modified form of the factory frame.

When individuals were stripping their stock motorcycles and bobbing their fenders, the term "bobber" was born. When individuals started cutting (or chopping) and welding their frames thereby repositioning/restyling them, the term "chopper" was born. Chopping was the next phase in the evolution that followed dirt track bobbing.

While people assume that the chopper style motorcycles were built purely for aesthetics, there is a real performance advantage to the raked front end on these choppers. These motorcycles have a much more stable feel at high speeds and in a straight line than motorcycles with original factory front suspensions. However, like any other modification, there is a downside: the raked front end feels heavier and less responsive at slow speeds or in curves and turns. This is due to the longer trail measurement associated with increased rake.

Changing the rake N trial of a motorcycle design requires modification of the design itself. This is a job that requires in-depth input from a motorcycle designer who is experienced with such design changes.

Which brings up one more option a chopper builder has: raked trees. Raked trees are designed so the lower tree sticks out further than the upper tree, thus increasing the rake of the forks in relation to the steering head rake. What this does, for those still following along all the imaginary lines, is position the axle closer to the frame rake measurement line, or shortening the trail. Thus, when adding raked trees to a raked frame (which sports a longer trail), the trail is shortened to a more manageable level. However, be warned that adding raked trees to a frame with short rake and trail can be hazardous, as shortening an already short trail measurement can lead to an unstable situation as speed increases. Misuse of raked trees can be quite dangerous, so a bit of research is in order before turning the first wrench on any chopper project. Just remember that because it looks good in a magazine doesn't automatically mean it will work on your bike.

Despite the personalized nature of choppers, and the wide availability of alternative designs, chopper builders have overwhelmingly chosen fat rear tires, a rigid-looking frame (even for a softail), and an original or replica air-cooled, pushrod v-twin engine. In the UK, due to the cost and lack of availability of the v-twin engine, many chose to use British engines from bikes such as Triumph or BSA; lately as availability has increased, Japanese engines have seen more use. Some people feel that the variety of engines and other components used more recently (especially on bikes built outside of the US) is diluting the signature appearance of the chopper style. Modern bobber builders tend to distinguish themselves from chopper builders with bikes styled before the chopper era. Modern bobber builder Jan Bachleda (originally from Slovakia) of JBIKEZ in Colorado builds custom choppers and bobbers using Triumph engines and frames from the 70s and earlier. The look, though chopped, is distinctly modern and low. Today's custom choppers are usually seen as center pieces at bike night events around the United States.

The United States of America, where most custom choppers reside, is one of the few countries in the world that allow custom-built choppers to be licensed for highway use. Many of these types of choppers are regarded as dangerous to operate and don't follow basic design geometry and lack many safety features in their construction.

Finally, an often overlooked style of chopper is the chopper bicycles. Inspired by the smooth, low lines of chopper motorcycles, today's custom choppers bicycles designer builds bicycles that pay tribute to the motorcycles they resemble.