text: Public Entertainment, Graffiti and Street Art: Fostering the Creative Abilities of Darwin, Palmerston and Katherine Youth Project Team Members Elise Moo, Felicity Wardle, Sharah Lyons, Justin Heim, Ethan Woods- Alum Commencement Date February 2009 Completion Date December 2009 Please note: The Youth Minister's Round Table of Young Territorians is an independent advisory council. The views expressed in this report are those of the authors and are not necessarily those of the Office of Youth Affairs or the Northern Territory Government. i Contents Acknowledgements iii Index of Figures iv Glossary of Terms v List of Acronyms vi Executive Summary and Recommendations vii 1. Introduction 1 2. Research Methodology 5 3. Research Findings 7 3.1 – Community Perception Survey 7 3.2 – Graffiti Management Workshop and Action Plan 13 3.3 – Key Interviews with Policy and Regulation Personnel and local 14 Graffiti artist 3.4 – Current Graffiti Management Strategies 18 3.5 – Case Study One: Brisbane ArtForce Project 20 3.6 – Case Study Two: Graffiti Solutions Graffiti Traineeship Program 23 4. Conclusion 26 5. Recommendations 28 6. References 30 7. Image citations 31 8. Appendices 32 a) 'Graffiti and Street Art – What Do You Think' Community Perception Survey and Information Sheet b) Request letter for interviews 're: 2009 Youth Minister's i Round Table Graffiti and Street Art Project' c) Interview protocol d) Project Information Sheet Draft Graffiti Management Action Plan and Brief to 2009 Youth Round Table' on Northern Territory Graffiti Management Action Plan e) Brief to 2009 Youth Round Table on NT Graffiti Management Action Plan f) Application for Cultural Research Network Outreach Program at Charles Darwin University (CDU) g) Department of Health and Families media release 'Survey on graffiti tagged by NT Youth' h) ABC News Online article 'Graffiti Survey to feed into Government policy' i) Project stakeholders j) Details of interviewees ii Acknowledgements The Public Arts and Entertainment Team (PAET) of the 2009 Youth Minister's Round Table of Young Territorians would like to thank the following individuals and organisations for their much appreciated and valuable input into our project over the past year: The staff at the Office of Youth Affairs and NT Families and Children Division who do an amazing job each year organising, coordinating and assisting the members of the 2009 Youth Round Table with their projects, especially Ms Vicki Schultz, Ms Debra Zupp, Ms Caroline Thompson, Ms Jenny Scott and Mr Greg Broadfoot The members of the 2009 Youth Minister's Round Table for their advice and support Professor Stephanie Donald from the University of Sydney for her invaluable advice on how to coordinate teams and properly conduct research Professor Beth Povinelli from the University of Colombia for being a guinea pig when the draft survey was first trialled Mr Mark Crossin and Ms Jane Munday from the Northern Territory Department of Justice for coordinating the Graffiti Management Workshop and drafting the NT Graffiti Management Action Plan Associate Professor Tess Lea for being a killer editor, background advisor and a shoulder to lean on when times got tough Dr Jenni Wolgemuth, Senior Research Officer at the School for Social and Policy Research of Charles Darwin University for her help with survey instrument design Mr Zac Rudge, Project Officer at Darwin Community Arts for providing important information about programs being undertaken to manage graffiti Ms Lucy Mendelssohn, Acting Program Manager, Arts NT for donating her time to be interviewed Mr Ryan Medlicott, local graffiti artist, for providing his insight into the complex world of a graffiti artist Most importantly thank you to the young graffiti and street artists of all levels of expertise living in the Northern Territory whose passion, talent and raw creativity inspired us to explore this controversial topic. iii Index of Figures Figure 1 Pie Graph representing age demographics of survey 7 respondents Figure 2 Pie Graph representing gender ratio of survey respondents 8 Figure 3 Chart results of origins of survey respondents 9 Figure 4 Chart results for survey Q2.1 "Graffiti is a legitimate form of art" 9 Figure 5 Chart results for survey Q2.2 "Zero tolerance is an effective 10 approach in deterring graffiti" Figure 6 Chart results for survey Q2.3 "Graffiti should attract a criminal 10 record" Figure 7 Chart results for survey Q2.4 "The presence of graffiti in your 11 community makes you feel unsafe" Figure 8 Chart results for survey Q2.5 "There should be more legal 11 spaces for graffiti" Figure 9 Chart results for survey Q5 "Are you aware of existing legal 12 graffiti spaces in your community" iv Glossary of Terms Bomb (and bombing) A term used to describe prolific painting of a graffiti or street artist attempting to cover multiple surfaces in a specific area with their work. Buff The removal or coverage of graffiti and street art on any surface. Cans Spray cans utilised by graffiti and street artists to create aerosol art. Cap (and capping) A process wherein one graffiti or street artist paints over the work of another subsequently erasing the original artwork. Character A cartoon figure/s (usually, but not necessarily) drawn from comic books, television, movies or popular culture to add humour or emphasis to a piece. In some pieces, the character takes the place of a letter in the word. Graf An abbreviation of the term graffiti. Mural A large-scale piece of graffiti or street art that uniformly covers the entirety of a surface (that is, top to bottom of a wall). Murals are normally designed around a certain theme and can involve one or more characters as well as lettering. Piece Short for 'masterpiece', used to describe a more complex graffiti painting. In general a piece is expected to have more detail than the common tag and in general utilises at least three different colours. Tags (and tagging) A graffiti or street artist's logo, usually a pseudonym, that is their personal signature. Tagging is considered the most basic and common form of graffiti. Throw-up Words or names painted with an outline and filled with different colours or no colours at all. Throw-ups take more time and skill to create than tags but are still done quickly and simply, usually using no more than two to three colours. v List of Acronyms ABC Australian Broadcasting Corporation AIC Australian Institute of Criminology CBD Central Business District CDU Charles Darwin University CoP City of Palmerston DCA Darwin Community Arts DCC Darwin City Council DHF Department of Health and Families GTF Graffiti Task Force KTC Katherine Town Council NSW New South Wales NT Northern Territory NTG Northern Territory Government NT Police Northern Territory Police OYA Office of Youth Affairs PAET Public Arts and Entertainment Team PWC Power and Water Corporation SSPR School for Social and Policy Research TAFE Technical and Further Education TSB Traffic Signal Box YRT Youth Round Table (Northern Territory Youth Minister's Round Table of Young Territorians) vi Executive Summary and Recommendations The prevalence of illegal and legal graffiti, 'tagging' and street art on public and private property is evident to all who visit our communities in the Northern Territory (NT).The increase in proliferation of graffiti and street art by young people in the NT on public and private property is cause for much concern for local police, council and government. It has also proven to be very expensive to manage with Darwin City Council (DCC) reportedly spending more than $600,000 in 2008i in its attempt to 'Wipe Out Graffiti'ii. The 'Wipe Out Graffiti' program, coordinated in collaboration by DCC, City of Palmerston (CoP) and the NT Police, has been by far the largest and most effective strategy undertaken in the NT to combat the rise in graffiti. However the program focuses on Graffiti vandalism (as) a significant community problem that is costly to remedy and leads to community perceptions of neglect and disorder,ii which does not account for or recognise the otherwise creative, aesthetic and artistic merits to various forms of graffiti and street art. In automatically associating 'graffiti' with 'vandalism' and defining it as a 'problem', this program creates a derogatory framework for managing graffiti. Such strategies also refuse graffiti a place as public art, defined as works designed and created by artists that feature or are located in public spaces, both indoors and outdoors. The only difference is that works of 'public art' are sanctioned through funding whereas more often than not works of 'graffiti art' are not. The defining link between the two—which raises the legitimacy of graffiti as a form of public art—is that both are accessible to the general public and have been designed and executed by artistsiii. As with pieces found in galleries and museums, members of the public may not like the work on individual aesthetic grounds, but illegality alone is insufficient to define graffiti as 'not art'. For all intents and purposes the issues of graffiti and street art are now inherently associated with the criminal act of vandalismiv which has led to many negative and simplistic views within the community on this complex and misunderstood subculture. The establishment in 2008 of the NT Graffiti Task Force (GTF)v, a unit of the NT Police directly assigned to manage, investigate and prosecute crimes associated with illegal graffiti, also highlights the significance of the issue as a number of youth are being brought into the criminal justice system for perpetrating what they fundamentally perceive as their art. vii This project aimed to foster the creative abilities of Darwin, Palmerston and Katherine's youth by investigating the grounds for a public art scheme wherein young artists are able to apply to legitimately decorate public spaces. Darwin, Palmerston and Katherine regions were chosen as members of PAET live in these communities. Such a scheme would need to incorporate different street art forms including painting, stencilling and aerosol art and would be modelled on programs already in place in other major cities renowned for their public art such as Brisbanevi and Melbournevii. Over the course of the year the PAET of the 2009 Youth Minister's Round Table of Young Territorians (also known as Youth Round Table (YRT)) have researched existing graffiti management strategies by consulting with council, government, NT Police and other key stakeholders (see Appendix I – Project stakeholders). We have also gauged public opinion about graffiti and street art through community perception surveys and one-to-one interviews with policy and regulation personnel as well as a young local graffiti artist (See Appendix J – Details of interviewees). The data gathered from this research and consultation process led the PAET to develop the following recommendations: 1. The designation by Northern Territory Government (NTG) and local councils in Darwin, Palmerston and Katherine of more legal spaces for graffiti and street art. Possible legal sites include laneways, vacant buildings, bus stops, public toilet blocks and the side walls of publicly (government) owned buildings. 2. Current and new legal spaces to be maintained to avoid capping and provide more and renewed space for new work. 3. The establishment of a Territory-wide permit scheme, based on the Brisbane ArtForce scheme that allows artists of all kinds of backgrounds to legally apply to local councils to paint street art or murals (including graffiti) on designated sites. Local councils will need to negotiate with the NTG, Power and Water Corporation and private businesses as to which non-council sites would be included in the scheme. The NTG should provide financial support to local councils to allow them to set up the permit scheme. 4. The creation of a public art register that details the location of legal sites accessible to graffiti and street artists in the major metropolitan areas of the Northern Territory: Darwin, Palmerston, Katherine, Tennant Creek, Nhulunbuy and Alice Springs. Such a portfolio should be promoted as a part of the Northern Territory's urban tourism circuit, distributed through tourist information offices, websites and brochures. viii 5. A higher level of support and funding from the NTG for arts organisations that facilitate the creation and promotion of various forms of public art including legitimate graffiti and street art, such as Darwin Community Arts. 6. Direct consultation between graffiti and street artists and organisations (government and non-government) assigned with the task of developing graffiti management programs as well as the incorporation of graffiti and street art design in relevant youth service planning committees and workshops. 7. Establishment of a trainee program for young aspiring graffiti and street artists run by more experienced mentors from various artistic backgrounds with a focus on the educational and legal avenues available for young aspiring artists. This will provide employment, artistic skills and development opportunities for both trainees and participating artistic mentors. ix 1. Introduction The Public Arts and Entertainment Team (PEAT) members of the 2009 Youth Round Table (YRT) aimed, through project research conducted over the course of 2009 to: • gauge public opinion about graffiti and street art issues • research diversionary strategies such as legal walls, permit schemes, rapid removal and architectural design strategies for minimising vandalism • propose an effective graffiti management strategy that is appropriate for Darwin, Palmerston and Katherine areas • increase recognition and development of graffiti and street art as a legitimate art medium for young people to express themselves. Ever since the first forms of graffiti were published, a debate has been raging about whether it is a legitimate art form, or unsightly vandalism and damage to private and public property. Community members are often legitimately angry when vandals deface their homes, public places and open space and it is clear that an effective approach to graffiti management must incorporate removal of offensive and unwanted graffiti. However, the current zero tolerance policyviii is self-defeating. Many young graffiti artists feel marginalised by the criminalisation of their artwork and in response, rebel against the authorities, thus perpetuating more illegal tagging and graffiti. A key problem is that there are very few legal options for young street artists or graffitists. Other than the few skate parks and abandoned buildings designated as legal spots that are already smothered in tags, throw-ups, pieces and characters, there are few avenues for artists to display their work and gain the notoriety and prowess they desire without committing illegal acts of vandalism. To transit from amateur to proficient practitioner in any medium, practice, exposure to advanced techniques and knowledge of the medium is required. The graffitists in question struggle to gain this proficiency in the Northern Territory given the zero tolerance approach to their craft. The result is a costly and inefficient regime that aggravates the issues it is meant to overcome. 1 1.1 This project This project researched effective diversionary strategies in which youth can legally express and display their artwork publicly to combat the negative public perceptions surrounding graffiti, street art and tagging. The benefits of these diversionary strategies have flow-on effects in educating young graffiti artists, improving community understanding and perceptions, improving the aesthetics of community spaces, deterring illegal graffiti and preventing animosity between artists' crews owing from 'capping' (when one artist purposely sprays over the work of another) each other due to lack of available space. Once you start marking your territory it's just like dogs. If anyone else comes along and pisses on your spot, covering your mark, you gotta get back at them and go over it. Ryan Medlicott, Darwin graffiti artist and creator of cover artwork, interviewed by PAET (03/10/09), (see Appendix J – Details of interviewees). The recent demolition of a popular graffiti site known as 'the ruins', located on a vacant block of land next to the Homemaker Village in Darwin, highlights both the significant lack of space and disregard of the sparse spaces that are available for public artwork in Darwin, Palmerston and Katherine. The availability of such spaces, or lack thereof, is one of the main reasons for youth to vandalise (or as they see it, decorate) public and private property that has not been designated as a legal graffiti or street art site. If more legal sites are shut down it is likely that we will see an increase in the proliferation of graffiti and street art on illegal sites and again, reduced artistic capacity. This report was assembled based on the YRT members' concern over the rise in graffiti proliferation in their communities and consequent management strategies undertaken by local governing bodies. More specifically, the five members of the PAET, who represent regions of Darwin, Palmerston and Katherine, were concerned with the repercussions for youth of strategies such as NT Police zero tolerance of graffitiviii. PAET members are familiar with local artists in our areas, some of whom are directly involved in graffiti and street art, and are concerned that these important stakeholders do not have their views and opinions on the issues that affect them properly accounted for. Furthermore, they risk attracting criminal records for activities that could be channelled into creative pursuits and talents. 2 1.2 How graffiti is currently understood and managed In Darwin and Palmerston, statistical data on graffiti is primarily collected through Darwin City Council (DCC) and City of Palmerston (CoP) through a reporting phone line, Graffiti Taskforce photos, and the transport authority bus shelter clean up teamix. The Power and Water Corporation (PWC) of the NT only clean up graffiti on their property when a complaint is reported to themx. Sometime local councils will undertake to paint over PWC power boxes at the same time as a bus shelter is being repainted due to graffiti. The NT Graffiti Management workshop identified the extent of the 'problem of graffiti' as being less of a problem than in other states, but one that is emergingi. Senior Constable Sally Zylstra, Coordinator of the NT Police Graffiti Taskforce, listed the handful of legal spaces available to graffitists and said the closure of two of these legal spaces could lead to a proliferation of more illegal graffiti. In Darwin, Palmerston and Katherine graffiti is primarily located on public transport property (such as bus shelters), urban shopping centres, fences, in laneways and on property of PWC such as power boxes. The Office of Youth Affairs (OYA) within the Northern Territory Government (NTG) Department of Health and Families (DHF) defines youth as people aged between 12 and 25 yearsxi which ties in with the general profile of a NT Graffiti artist as being in their teens or young adult years. Some youth delve into the world of graffiti and street art not necessarily because of its artistic merits but because of boredom or thrill-seeking.xii However we believe that to develop their artistic prowess, young graffiti and street artists need to have legal opportunities to channel their energies towards. It is only through the practical application of their skills that graffitists can progress from crafting amateur tags to more skilful works such as murals. Whilst rapid response and removal of graffiti acts as a deterrent and regulation is needed to penalise criminal activity and prevent youth from committing vandalism, other deterrent strategies that contribute to the artistic potential can not only deter graffiti vandalism but affect the development of young people's skills and contribution to community aesthetics. A young person who first becomes involved in Graf because it is a risk taking behaviour, i.e., crime may then realise that it is a way of gaining a sense of recognition (fame) and therefore belonging (fellowship) and finally after they mature come to view their activities as a legitimate art form and make genuine attempts to elevate their activities and skills into more mainstream pursuits.xiii 3 Over the course of the year, it was evident that various government and community organisations had undertaken different strategies in order to divert youth from proliferating graffiti vandalism towards more legitimate artistic avenues. Some of these include NT Police Youth Diversion group, Darwin Community Arts (DCA) and DCC who were approached for interviews as part of research for this project (see also Section 3.4). 1.3 Our approach and definitions For the purposes of this report, graffiti is defined by Encarta Dictionary as images or lettering printed in any manner on walls or other surfaces in public placesxiv and has existed for hundreds of years serving as a literal record of people, significant events, as artistic expression or merely a signature. In modern times, graffiti practitioners use spray paint, markers and stencils for their material as evidenced by the many spray painted tags ornamenting walls around Darwin, Palmerston and Katherine. According to a report compiled by the Australian Institute of Criminology (AIC) on Preventing Graffiti and Vandalism: Graffiti can also be more attractive than what it allegedly defaces. Most of us have had a laugh out of graffiti at some point, and many dreary hoardings have been enlivened by illegal murals... Neither is all vandalism antisocial in nature. A great deal – estimates run as high as three-quarters – is opportunistic in character; that is, it results from poor design which cannot handle the demands of wear and tear placed on it; it is caused by people adapting their environment to make it work better; or it can simply be caused by kids being kids. With opportunistic vandalism, the offender might have had no intention of causing damage, but the result is viewed by others as vandalism.xv Such notions led the PAET to design and conduct the 'Graffiti and Street Art – What Do You Think?' community perception survey (see Appendix A – Community Perception Survey) among members of the general public from a wide range of backgrounds in order to investigate their perceptions of street art and graffiti. Lastly, investigation of inter-state graffiti management policies such as the case study of the Brisbane City Council's 'Art Force scheme' contributed to our research and ultimately provided the foundation for our recommendations to government. 4 2. Research Methodology A number of activities were undertaken by PEAT members of the YRT over the course of the year to generate both qualitative and quantitative data on the issues and to build the team's skills to manage the project. 2.1 Australian Research Council Cultural Research Network Outreach Program As part of this program, Professor Stephanie Hemelryk Donald from the University of Sydney was asked by the School for Social and Policy Research at Charles Darwin University (CDU) to facilitate mentoring workshops from 1-2 May 2009 with individuals or groups conducting research to help them clarify their means, methods and desired outcomes. The objective is to facilitate the development of innovative collaborative research projects in the general areas of media and cultural technologies, cultural literacy, cultural histories and geographies, and cultural identities.xvi Elise Moo and Felicity Wardle of PAET were selected to participate in a session with Professor Donald after sending in an application (see Appendix F – Application for Cultural Research Network Outreach Program). The session helped clarify the research design and methods used in the project. 2.2 Community Perception Survey After multiple drafts and tests the PAET survey entitled 'Graffiti and Street Art – What Do You Think?' was approved by OYA and the team collated a total of 68 responses. The surveys were aimed at Territorians from a wide range of backgrounds. Surveys were distributed and collected by team members along with a project information sheet (see Appendix D – Project Information Sheet). The survey was also available online and attracted media attention resulting in a DHF Media Release (see Appendix G – DHF 'Survey on graffiti tagged by NT Youth' media release) and Australian Broadcasting Corporation (ABC) News online article (see Appendix H – ABC News Online article 'Graffiti Survey to feed into Government policy') which promoted the PAET cause. The survey was intended to gauge the range of community perceptions and opinions about graffiti and street art as well as to test the understanding of the general public of the complexities of graffiti culture. 5 2.3 Graffiti Management Workshop A one day workshop was coordinated and hosted by the Community and Justice Policy unit of the Department of Justice on Wednesday, 24 June 2009 with participation from various organisations including NT Police, the Department of Justice (including Correctional Services), Department of Education and Training, Department of Planning and Infrastructure, CoP, DCC, Local Government Association of the Northern Territory, Telstra, PWC and OYA. Three members of the YRT PAET attended: Elise Moo, Felicity Wardle and Sharah Lyons. It should be noted here that there were no representatives of the graffiti or arts communities in attendance at the workshop. The workshop's main aim was to develop a draft Graffiti Management NT Action Plan that provides a coordinated approach to graffiti management in the Northern Territory across all layers of government, the private sector and non-government organisations. A draft of the action plan was released subsequent to the workshop and a brief was drawn up by PAET (see Appendix E – Brief to 2009 Youth Round Table on NT Graffiti Management Action Plan) for review and comment by the remainder of YRT representatives. 2.4 Interviews with Policy and Regulation Personnel In order to research Graffiti and Street Art management strategies already being implemented in the NT the PAET sent request letters (see Appendix B – Request letter for interviews) to various organisations in Darwin, Palmerston and Katherine. Subsequent interviews were conducted with DCA and Arts NT following a set interview protocol (see Appendix C – Interview protocol). The results of these interviews informed our knowledge of the current strategies in graffiti management in Darwin, Palmerston and Katherine. Also, a young Darwin local graffiti artist volunteered to be interviewed by PAET due to his concern that actual graffitists are seldom if ever consulted about legislation and policies where they are the main subjects. 6 3. Research Findings The Community Perception Survey was first developed in collaboration with Professor Donald during our Cultural Research Network session; modified with advice from Dr Jenni Wolgemuth at CDU, field tested on a sample of people and developed from that point onwards. Each member of the PAET committed to getting a minimum of 10 surveys completed and a total of 68 surveys were received and analysed. It should be noted here that all survey results were anonymous and the respondents were not required to complete every question if they did not wish to do so. It should further be noted that while the team received advice, responsibility for the resulting analysis rests with PAET. Our research delivered two key findings. Firstly, there is a perception of significant gaps within current graffiti management strategies, particularly redirection and diversionary strategies. Second, the surveys collected show trends in community perceptions of graffiti. A key conclusion drawn from the surveys is that the community would like to see more graffiti art and less graffiti vandalism. 3.1 Community Perception Survey Demographics Figure 1 7 As evidenced by the results in Figure 1 the majority, 56% (n=38) of respondents, were youth between the ages of 16-25 and the minority, 3% (n=2) of respondents respectively, were seniors between the ages of 56-65 and 66-75. While the PAET endeavoured to survey a large cross-section of the community, this restricted demographic spread matches the youthfulness of the Northern Territory population in general and operates as a counterpoint for the absence of youth voices at policy forums concerning graffiti. Nonetheless, 35% (n=24) of the sample represents people aged 26 and over. Question 2 of the survey asked the participants to identify themselves as a graffiti or street artist with a simple yes or no. Out of the 68 respondents only 4 (6%) identified themselves as graffiti or street artists. Figure 2 There was 2:3 ratio split between male and female respondents with a majority 60% (n=41) being female. 8 Figure 3 Reflecting relative population densities, the majority 59% (n=40) of respondents were drawn from the Darwin urban area. A further 19% (n=13) originated from the Katherine region while 16% (n=11) originated from Palmerston and 6% (n=4) originated from the Darwin rural region. Figure 4 9 When asked if graffiti is a legitimate form of art, the majority, 62% (n = 42) either agreed or strongly agreed. A similar number of people, 57% (n = 39), thought that a zero tolerance approach was not an effective approach in deterring graffiti while only 9% (n = 6) of respondents agreed or strongly agreed that it was. In Questions 2.1 and 2.2, roughly the same number of respondents were neutral with 26% (n=18) and 32% (n=22) respectively. Figure 5 Figure 6 reveals results to the question exploring whether graffiti should attract a criminal record. The majority 51% (n = 35) disagreed or strongly disagreed while only 19% (n = 13) agreed or strongly agreed that graffiti should attract criminal charges. Figure 6 10 Figure 7 reveals half of respondents 50% (n = 34) disagreed or strongly disagreed that the presence of graffiti in their community amplifies feelings of insecurity. Figure 7 Figure 8 indicates significant majority support for the concept of legal spaces for graffiti artists, with 79% (n = 54) agreeing or strongly agreeing. This question had the smallest number of 'neutral' responses, 15% (n = 10), signalling a less ambivalent community perspective on this issue. Figure 8 11 Finally, and of interest given the insistence within policy arenas that spaces do exist for graffiti artists already, the majority, 57% of respondents (n=39) are unaware of the availability of legal spaces for graffiti. Furthermore, when respondents who did know of legal spaces were asked to specify the locations, respondents' answers were limited to local skate parks, namely Leanyer Skate Park, Jingili Water Gardens skate park, Palmerston Skate Park and Katherine Skate Park. Figure 9 Discussion and Conclusions drawn from surveys 62% of respondents agree that graffiti is a legitimate form of art 57% feel zero tolerance has not been an effective approach in combating graffiti in the Northern Territory 51% believe graffiti should not automatically attract a criminal record 50% agree the presence of graffiti does not make them feel unsafe in the community 79% feel there should be more spaces made available for the proliferation of legal graffiti and street art 57% are unaware of legal graffiti spaces and for the 43% who were aware only limited locations were cited. 12 3.2 Graffiti Management Workshop and Action Plan A one day workshop was coordinated and hosted by the Community and Justice Policy Unit of the Department of Justice on Wednesday, 24 June 2009 with participation from relevant government departments and community organisations. Its purpose was to design a Graffiti Management Action Plan, a draft of which was promulgated following the workshop. As it currently stands, the Action Plan will target any behaviour related to graffiti regardless of its artistic merits because under the Action Plan, and despite PAET's advocacy, graffiti is not regarded as public art. This limited definition did not sit well with our team who attempted to provide some youth perspective through presentations to the workshop on how to effectively engage with young people involved with graffiti and street art as well as diversionary strategies that embrace youth creativity. Defining graffiti proved to be a challenging task for the attendees at the workshop. With differences in vandalism and art as well as the different styles of graffiti including tagging, throw ups and murals, the workshop chose to use the WA Graffiti Task Force definition which describes graffiti as "defacing private and public property without consent of the property owner", distinguishing this from public art, which is described as "(urban art) which is legally commissioned work."i The workshop decided that the term 'graffiti vandalism' best describes what the Action Plan is designed to address. This project disagrees with this narrow interpretation of a complex art form that is by no means simple to master. 'Legally commissioned work' is not always realistic for young graffitists who are developing their artistic skills and expressions; nor is it realistic for young aspiring artists across the broad spectrum of public art styles. Urban and public art enjoys a wider interpretation in this project and includes opportunities for young artists to practice their graffiti or other art styles on legal spaces at little or no cost to them. The workshop went on to assert that the purpose of a Graffiti Management Strategy is to target illegal behaviour regardless of its artistic merits and graffiti should not be referred to as public art. While a public art strategy may provide a strategy that diverts some of the more expressive forms of graffiti, it must be made clear that all uninvited graffiti is vandalism and cannot be sanctioned.i As a result of this narrow framework for analysing graffiti management, there was only one recommendation in the draft action plan that dealt with the issue 13 of public art as a deterrent factor in decreasing the proliferation of illegal graffiti. Recommendation 24 of the workshop draft Action Plan states that government will Develop a strategy to develop legal options for young people with artistic urges as an incentive to redirect their activities (the workshop noted the imminent closure of some current venues such as the Parap slide and Nightcliff skating rink and 'competition' for legal art space).i The project found that while such good intentions were voiced, there is still a serious lack of legal spaces available to young graffitists and street artists and at the time of the presentation of this report there has been no new areas allocated to young artists. This finding, coupled with the results of survey question 2.5 (fig. 8) wherein 79% respondents agree that 'there should be more legal spaces for graffiti and street art' has lead PAET to recommend the immediate allocation of more legal street art sites. By giving young artists opportunities through legal walls, graffiti workshops and a public art program to display their work, there is less incentive for them to proliferate illegal graffiti and street art on other's property. Subsequent to the workshop the PAET drew up a summary of the draft Graffiti Management Action Plan (see Appendix E - Brief to 2009 Youth Round Table on NT Graffiti Management Action Plan) which was then circulated amongst YRT members. 3.3 Key Interviews with Policy and Regulation Personnel and local Graffiti Artist Zac Rudge, Project Officer, Darwin Community Arts (DCA) (interviewed on 15/07/2009 by Elise Moo) In response to the increase in the popularity of graffiti, street art and hip hop culture amongst young people, DCA - a grassroots arts development organisation in the Darwin region - initiated a graffiti project in collaboration with the Young Women's Christian Association (YWCA) of the Northern Territory, Danilla Dilba, Melaleuca Refugee Association and the Australian Government Department of Immigration and Citizenship, aimed at 'fostering communication between different groups of young people who often don't get along'. A series of seven workshops were hosted at DCA by experienced graffiti artists who advised and assisted young participants in creating artworks that were exhibited as part of the 2009 Darwin Festival. The issue of graffiti as such was not the focal point of the project but was instead used as a medium to bridge understanding between different groups 14 of youth through their mutual interest in artistic expression. The idea was to transport graffiti into a legitimate context in order to aide people in observing artistic merits in place of vandalism and antisocial behaviour. For the purposes of their programs which relate to graffiti and street art, Mr Rudge and DCA at large do not view graffiti as a 'problem' and instead view the many different types of graffiti 'as a symptom of a lack of opportunity and engagement for young people, specifically in meaningful and creative activities.' As such DCA primarily regard graffiti as an expression by predominately youth culture that says "we're pissed off, we don't listen or necessarily value what we're being told to value because we may not be valued by that system within itself". Whilst the organisation is steadfast in its disavowal of property damage and criminal activity they feel if the state [government, council, police] is not providing enough opportunities in terms of education and creative opportunities for young people to feel valued, to feel legitimate and to feel [a sense of] worth then it is near-sighted to view graffiti as a problem that needs to be stamped out because [DCA] think it is actually a consequence of other imbalances. This is an example of an organisation supporting graffiti as a legitimate art form instead of being susceptible to societal stereotypes about youth culture. Graffiti was effectively used by DCA as a tool for facilitating 'interaction between different groups of young people from disadvantaged backgrounds'. The project promoted 'responsibility and understanding within a diverse group of young people' as well as 'promoting graffiti as a legitimate art form' to the wider community. This evidences how graffiti and street art or otherwise popular forms of artistic expression can be applied in order to benefit the community on a number of levels. 15 Mr Rudge stated that Graffiti is the medium, the tool, the means of artistic expression, the means of saying what people want but in actual fact it is a group of different people from different places and what we hope to do is get people from different backgrounds doing similar things so they can come together and realise that they are interested in similar things. And through that kind of growth and understanding [we can] gradually work on the social issues like violence between recently arrived refugees and the local young Indigenous population... The way we look at graffiti in terms of our work is it is an interesting tool because people are interested in it, we can do it legally and it is a valuable thing to work with young people specifically to promote [social] cohesion. Lucy Mendhelson, Acting Program Manager, Arts NT (Interviewed on 31/07/2009 by Felicity Wardle) According to Ms Mendhelson, "Arts NT does not have a specific policy on graffiti/street art, they instead fund programs indirectly through community arts organisations." She cited the DCA graffiti projects, Darwin Festival graffiti projects and Incite Youth Arts graffiti projects in Alice Springs. She also said the main focus of Arts NT in their community arts policies is lifelong learning and how art can be used as a vehicle for lifelong learning and community engagement. Ryan Medlicott (aka "Phue"), Local Graffiti Artist, Darwin region (Interviewed 27/10/2009 by Elise Moo) Ryan is 17 years of age and is currently completing a Certificate IV in Visual Arts and Crafts at CDU. A sample of his legal artwork painted on the exterior of the old Woolworths complex in Smith Street, Darwin City, features on the cover of this report. His passion for graffiti was ignited in 2006 when he was in Year Eight enrolled in Darwin High School. When asked what inspired him to first pick up a marker and spray can, Ryan explains I started doing more complex lettering and started seeing experienced local artists work like "Tikls", "Smak" and "Dome" and I wanted to get my own reputation up. It (tagging) becomes like an addiction and once you start, if you're really into it, it's really hard to stop. 16 He continued to pursue his new found enthusiasm and talent through high school up until Year 10 when he dropped out of school. He reasoned his 'drop out' was in part because of the failure of the education curriculum to provide any appealing outlets for his creative interests. After dropping out, Ryan drifted for a while until he enrolled at CDU where he has since been able to develop his skills in graffiti and other new mediums. The development of his skills has enabled many new opportunities and he now practices legal graffiti and street art under the pseudonym "Phue" and is able to sell individual canvas pieces. The image below is an example of such legal work, where Ryan and a few fellow graffitists were commissioned by the 24 Hour Eatery on Smith St in Darwin City. 17 Whilst this indicates a positive movement by independent local businesses to support young graffiti and street artist, finding legal work is hard to get all the time and I've even had people come up to me when we're painting legally and say bad things. But in the end legal work is always received more positively and gives a platform for us to interact with the community and show how good our stuff can be if given the opportunity. When asked how he feels about criticism of his work, legal and illegal, Ryan says I like the work so it's hard to agree that it's vandalism. I guess we can agree to disagree. But it's true that some taggers have no regard for anything and write wherever they want to write even if it doesn't look good. So in the opinion of this young, established Darwin graffiti artist what should be done to reach an effective solution for all members of the community? I think graf artists, especially up and coming artists need places to practice. The legal places they've got at the moment aren't enough; I've been spraying at skate parks where it's meant to be legal and still been told to 'move on' by police and that all graffiti is 'illegal' no matter where it is. When you're a tagger and people like police piss you off when you're actually doing the right thing it makes you want go out and do it more. So the problem to some extent is self-perpetuating. If there are scarce legal opportunities for young people to practice and develop their artistic skills in graffiti and street artwork, and if artists are repeatedly antagonised by police and other authorities or the general public, they will retaliate by vandalising property and working illegitimately. More community education is needed to educate people on the legality of some graffiti and the places where people are permitted to paint. It needs to be very clear to authorities where legal spaces are, so they don't antagonise young people doing the right thing. 3.4 Current Graffiti Management Strategies PAET started our research into graffiti management strategies by looking at a variety of academic and social research of graffiti management strategies in other Australian jurisdictions and overseas. This formed the basis of our understanding of different approaches and techniques used to combat the nation-wide rise in the proliferation of illegal graffiti and street art.xvii 18 Several key stakeholders were identified (see Appendix I – Project stakeholders) in the Darwin, Palmerston, and Katherine regions: young graffiti and street artists, NTG, NT Police (in particular the Graffiti Taskforce), DCC, CoP, Katherine Town Council (KTC), the NT Government Department of Planning and Infrastructure, PWC, Department of Natural Resources, Environment, the Arts and Sport, Arts NT, local arts organisations and local private and public businesses. Research into current NT graffiti management strategies with a focus on the Darwin, Palmerston and Katherine regions was broken down into three interconnected and interdependent aspects: rapid response and removal, regulation and redirection. Through analysis of these current strategies, gaps were identified. Rapid response and removal, and regulation are dealt with extensively in the Draft Graffiti Management Action Plani The PEAT chose to focus on the redirection strategy as this was the least dealt with in the graffiti management workshop and plan. The Community Perceptions Survey reiterated some of these policy gaps, both in lack of community knowledge of legal spaces; and the perception that graffiti can be a legitimate form of art and that it shouldn't attract a criminal record. Redirection can encompass a wide range of strategies that prevent illegal graffiti. Two key deterrent strategies are legal spaces for graffitists and a more accessible public art program. Legal spaces provide opportunities for the more artistically minded graffiti proliferators, and show role modelling of artistic graffiti to those young people who are proliferating graffiti as rebellious activity only. Current public art programs are subsequent to a very comprehensive application process, management of arts funding and are accessed by more experienced and established artists in the NT community. Youth access to public arts programs are through organisations such as DCA and local councils which provide more sporadic, youth-accessible graffiti workshops or youth arts programs that are short term and ad hoc in nature. The unreliability is itself a deterrent for institution-shy artists as well as the notion, as highlighted by Mr Rudge, that 'the system' is working against them. 19 3.5 Case study one: Brisbane ArtForce project Brisbane City Councilxviii is responsible for approximately 800 traffic signal boxes (TSB). A 1998 audit revealed that these were by far the Council's most vandalised assets, with over 95 per cent being heavily covered with graffiti. To counter this, legal graffiti art painted by graffiti artists was used to completely cover the TSB. After a three month trial period that demonstrated a 100 per cent prevention record, the ArtForce project was launched. By supplying all of the necessary safety equipment, paints and materials, the application of legal art to prevent vandalism was facilitated. Brisbane City Councillor David Hinchliffe shared his insights about the five- year program which has proven to be highly effective in eradicating graffiti and other forms of vandalism in Brisbane. Four years ago, TSB were Brisbane's most vandalised assets with over 95 per cent 'tagged'. Since then, 650 of the city's 800 traffic signal boxes have been painted by local artists resulting in an 80 per cent reduction of such graffiti. This has saved council about $10,000 in graffiti removing costs. The lessons learnt have also been transferred to other council assets such as underpasses and libraries where there is an increase in the use of legal art as graffiti prevention.xix Anyone can apply to paint a TSB, including families, professionals, first time artists, school groups, kids or elders. Artists must reside in the city of Brisbane and must have their design approved by 'Urban Smart Projects' within council. The artist first chooses a TSB (advertised on the ArtForce website) or contacts Urban Smart Projects to have the TSB allocated to them. The artist then has one month to create and submit their full colour designs to Urban Smart Projects for clearance. The artist needs to specify how many sides of the TSB they will be able to paint, as all visible sides need to be covered to minimise the likelihood of graffiti tagging. To prevent the TSB from overheating, the TSB should not be covered in predominantly dark colours. If the one month lapses, the TSB becomes available for reallocation to another artist. 20 If approved, an Artist's Agreement is signed and an ArtForce Pack is supplied, furnishing the artist with all equipment necessary to execute the work to a high standard. Each pack contains paint (undercoat and primary colours plus green, white and black), safety vests, witches hats, painting rags and drop sheets. Artists need to provide their own paintbrushes and must comply with safety and environmental guidelines. This ArtForce Pack is later returned, along with photos of the assembled piece and feedback forms. An annual ArtForce Awards event is held to celebrate the work of all successful contributors. Notably, design criteria are fairly open-ended, as Urban Smart Projects acknowledges that everyone relates to their community and local surrounds differently. However, they do specify that designs should be positive, original and colourful and reflect at least one of the following: • the immediate environment • the character or culture of the suburb • the history of the area • community pride • creativity. Designs are ineligible if they involve: • a breach of Intellectual Property Rights (somebody else's idea) • trademarks, brand or business names, logos or copyrighted images • images of a potentially offensive or sensitive nature as determined by the project managers • collage or gluing anything onto the TSB • images that resemble illegal graffiti or tags. On average, TSB artworks last from six months to four years. TSB remain Brisbane City Council property and may require upgrading or need replacing at any time. There is no guarantee how long an artwork will remain on a TSB. This replenishment is also a key part of the anti-vandalism strategy. An invitation to the annual award night is extended to all eligible ArtForce participants. Awards are judged by independent art authorities, recognising outstanding artwork in five categories with the following cash prizes: • Overall Winner - $1000 & Runner up - $500 • Under 18 - $300 • Under 12 - $250 • Best School - $200 • Best Organisation - $100 21 Key characteristics of successful redirection strategy Research into redirection strategies used in other Australian jurisdictions highlighted the success and necessity of an appropriate public art project approach when dealing with graffiti management in a comprehensive way. The Brisbane ArtForce Project above is one which provides opportunities for all members of the community to apply to paint a TSB with materials predominantly supplied by the Brisbane City Council. An annual celebration with additional cash awards gives the scheme status among artists and, together with facilitating equipment provision, promotes competition for good designs. Not only were the costs of graffiti removal reduced, but the aesthetics of the community were improved and artists of different ages and from a range of backgrounds were provided with an opportunity to gain the notoriety and public recognition of their work that they seek. This detailed case study of the Brisbane ArtForce Project was provided in order to demonstrate the simple nature of the project and how it could be adopted by the NT Government in their bus shelter/public transport networks, by the DCC for their property and by private companies such as PWC for their power boxes or Telstra Countrywide for public phone booths. Further to the opportunities that schemes such as the Brisbane ArtForce Project provide to young artists and graffitists, there is a significant body of literature that examines the other benefits of deterrence in graffiti management such as those circulated by the AIC as a part of its Graffiti and Vandalism resourcesiii, iv, xiii & xv. Already decorated spaces are less attractive to graffiti vandals thereby more public art on common graffiti targets would deter vandalism.iii 22 The ArtForce project found that by employing this public art approach to graffiti, illegal tagging of the traffic signal boxes was reduced by over 80% over a five year period. 3.6 Case Study Two: Graffiti Solutions Graffiti Traineeship Grant Program The Graffiti Traineeship Grant Programxiii is a New South Wales (NSW) program which supports local councils to divert young people from involvement in illegal graffiti by providing artistic and training opportunities through anti-graffiti youth workshops or other projects. The Traineeship Program provided customised training to local graffiti artists in the form of a five and half day youth work and community art course to be delivered by NSW TAFE Plus. In addition to this, a grant of $2600 was then provided to Council to allow the artist/s to engage a Trainee to coordinate an anti-graffiti Youth Program. As it was implemented by the Wollongong Youth Services, the aim was for the Trainee to act as mentor to a number of identified active young graffiti artists and to coordinate two mural projects. Two new sites for mural projects that had been regularly targeted by graffiti writers were secured. Both these sites (walls) were located on privately owned commercial properties in high profile areas. The support received from these local businesses and the many positive comments from passing public on the paint days was a great boost for Trainee/mentor and the artists. Crown Lane Mural Project The Crown Lane Mural was painted on the north facing wall of the premises on the corner of Crown Lane and Keira Streets in the heart of the Wollongong Central Business District (CBD). Wollongong Youth Services was approached by the owner of City Central Laundry after the premises had been vandalised with tags. Following initial discussions with the laundry owner an additional meeting was arranged with the owner of the actual building, who, after hearing of the project's aims and objectives, approved the project. Artists that had previously been identified by Wollongong Youth Services through their patronage of their large legal aerosol wall were offered the opportunity to take part in the project. Six artists took up the opportunity - half of whom had never previously been involved in structured legal projects. 23 The Trainee conducted two workshops with the artists prior to the painting of the mural. In the first of these workshops, course objectives (such as the promotion of graffiti in the community through legal mural productions and the discouragement of anti-social behaviour) were discussed. Information on the laws and penalties relating to graffiti in NSW as well as a historical overview of graffiti on a local and international level were also provided, together with instruction on basic design fundamentals, the use of different paint and selection of available nozzle types. "A discussion was facilitated on graffiti culture in the local area. A surrounding environment and site inspection was held and ideas as to possible themes brainstormed". xiii In the second workshop a theme was selected and a design for the mural created. Colours were selected and paint ordered from a local supplier. Days three and four were dedicated to the painting of the Mural. According to youth worker Mick Jonesxiii on the first day there were many positive comments from passersby: Only one dissenting voice was aired by a local woman. When she complained about the mural, the wall had only been buffed a beautiful ocean blue. She complained to the business owner that it was tacky. When challenged about the fact that the wall had only been painted blue she replied. "I can tell it will be tacky from the music." The young men were listening to some local Hip Hop…. Overall the project was very positive. Since painting, the mural has only been damaged by one person who tagged on the 'fence' that was a part of the design. I have identified and spoken directly to this person who apologised saying he was drunk at the time and not thinking. The Trainee says he will go back and repair the damage though it is only minimal and almost unnoticeable in the overall design. xiii As a direct result of this project one of the young artists participating was employed by a local community based service in his suburb to paint a mural on a heavily vandalised Council owned facility. The Trainee inspired by the Technical and Further Education (TAFE) short course has now enrolled in a full time two year youth work course at Shellharbour TAFE. xiii Unanderra Project The second of the mural projects is also drawn from the work of Wollongong Youth Services and was painted on the north east facing wall of David Carlon Motors in Unanderra.xiii Given its highly desirable location between the Princess Highway and the railway line/station in Unanderra, it is one of the most highly tagged areas in the Wollongong Local Government Area. 24 Whenever the owners paint the wall over, it is swiftly re-vandalised. The adjoining walls and surrounding buildings were covered in layers of graffiti that had built up over the years. After consulting with the owner of the business and obtaining a design brief, a workshop was held for the participating artists and trainee to develop a design. On paint day, artists arrived early and worked solidly all day until last light to complete the mural. Feedback from residents, passers-by, local business and the police was universally positive. The police who stopped to watch the artists were impressed with their skill and engaged with the artists in a very positive way, discussing the designs, paint techniques and wider cultural issues. The quality of the finished work was extremely high and the business owner, the artists and trainee were not only very happy with the project overall but were all keen to be involved in further projects. xiii Key characteristics of successful redirection strategies These projects successfully provided for: • job related skills and development opportunities for both the Trainee and participating artists—particularly on how to plan, cost and implement legal projects and activities • mentoring to a number of identified active young graffiti artists • information regarding the history of graffiti, its historical and cultural context , plus information on laws and regulations surrounding graffiti • opportunities for participating artists to increase their awareness of the issues raised by illegal graffiti • using connections within the graffiti community to develop and coordinate two high quality mural projects • an increase in public awareness and understanding of graffiti art as a legitimate art form practiced by sensible young people, with artistic and cultural needs • less unwanted tagging • channelling of young artists into legal projects and promotion of other legal avenues for their creative expression. 25 4. Conclusion Extensive consultation with key stakeholders (see Appendix I – Project stakeholders) led the PAET of the 2009 YRT to identify issues and recommendations for graffiti management strategies. Two of these strategies, rapid response and removal, and regulation are dealt with in detail in the Draft NT Graffiti Management Action Plan.i Our research revealed that the strategy of redirection remains the most neglected and most in need of comprehensive policy attention and action. Through extensive consultation with stakeholders and gauging community perceptions through our community perception survey, two main conclusions are drawn: • There are clearly not enough legal opportunities, namely space, for young artists and in particular graffiti artists to be able to produce, develop and display their works of what we believe is fundamentally art and not vandalism. • Access for young people to established public arts programs and funding is neither consistent nor organised to cater to the youth of the Northern Territory. This project aimed to foster the creative abilities of Darwin, Palmerston and Katherine's youth by establishing the grounds for a public art scheme wherein young artists are able to apply to legitimately decorate public spaces. A coordinated public art scheme is also necessary to deter graffiti vandalism on council, government and private property. Such a scheme should be modelled on a successful project such as ArtForce Brisbane (see Case Study One), as pre-decorated spaces are less likely to be vandalised.iii Continually removing graffiti only serves to create more blank canvases as well as prompting artists to target different areas. Our research has shown that graffiti and street art in public spaces has a deterrent effect against vandalism, gives opportunities for legal graffiti for young graffitists, and has a positive role modelling effect for young graffiti artists considered as vandals. According to the Queensland Urban Ecology site, Artworks promote community ownership and an increased sense of well being and personal orientation. Research has shown that public art decreases littering and infrastructure damage.xx A positive scheme would need to incorporate different street art forms including painting, stencilling and aerosol art and should be modelled on programs already in place in other major cities renowned for their public art such as Brisbanevi and Wollongongxiii. 26 It is vital that the NTG as well as other government and non-government agencies remain open-minded about the artistic merits of graffiti and progress from the simplistic tendency to automatically label graffiti and street art as 'vandalism' and to call the young artists who promulgate such works 'criminals' who are exhibiting anti-social behaviour. Failing this, we are likely to see an increase in youth disengagement which will ultimately lead to the negative social attitudes that graffiti and street artists purportedly already promulgate. That is, a narrow, punitive policy will foster the very attitudes it is seeking to curtail. As a result of the information gathered during the research process the PAET has compiled a number of recommendations for the NTG to assist in deterring and redirecting illegal graffiti. The recommendations are in no order of preference and in many cases are interlinked. 27 5. Recommendations PAET recommends that NTG, DCC, CoP and KTC undertake to explore and implement these recommendations in the near future. 1. The designation by Northern Territory Government and local councils in Darwin, Palmerston and Katherine of more legal spaces for graffiti and street art. Possible legal sites include laneways, vacant buildings, bus stops, public toilet blocks and the side walls of publicly (government) owned buildings. 2. Current and new legal spaces to be maintained to avoid capping and provide more and renewed space for new work. 3. The establishment of a Territory-wide permit scheme, based on the Brisbane ArtForce scheme that allows artists of all kinds of backgrounds to legally apply to local councils to paint street art or murals (including graffiti) on designated sites. Local councils will need to negotiate with the NTG, Power and Water Corporation and private businesses as to which non-council sites would be included in the scheme. The NTG should provide financial support to local councils to allow them to set up the permit scheme. 4. The creation of a public art register that details the location of legal sites accessible to graffiti and street artists in the major metropolitan areas of the Northern Territory: Darwin, Palmerston, Katherine, Tennant Creek Nhulunbuy and Alice Springs. Such a portfolio should be promoted as a part of the Northern Territory's urban tourism circuit, distributed through tourist information offices, websites and brochures. 5. A higher level of support and funding from the NTG for arts organisations that facilitate the creation and promotion of various forms of public art for young people, including legitimate graffiti and street art, such as Darwin Community Arts. 6. Direct consultation between graffiti and street artists and organisations (government and non-government) assigned with the task of developing graffiti management programs as well as the incorporation of graffiti and street art design in relevant youth service planning committees and workshops. 28 7. Establishment of a trainee program for young aspiring graffiti and street artists run by more experienced mentors from various artistic backgrounds with a focus on the educational and legal avenues available for young aspiring artists. This will provide employment, artistic skills and development opportunities for both trainees and participating artistic mentors. 29 6. References i Munday, Jane; 2009; Graffiti Management Action Plan [DRAFT], published June 2009 on behalf of Community and Justice Policy Unit of NT Department of Justice ii Darwin City Council; 2008; Graffiti fact sheet: 'Wipe out Graffiti', URL: http://www.darwin.nt.gov.au/documents/GrafittiFACTSHEET.pdf; accessed [September 2009] iii Frost, Ashley; 2003; Graffiti and Public Art paper presented at the Graffiti and Disorder Conference convened by the Australian Institute of Criminology in conjunction with the Australian Local Government Association; available URL: http://www.aic.gov.au/en/events/aic%20upcoming%20events/2003/~/media/co nferences/2003-graffiti/frost.ashx; accessed [September 2009] iv Australian Institute of Criminology; 1990; Report: Preventing Graffiti and Vandalism, URL: http://www.aic.gov.au/publications/previous%20series/crimprev/1- 11/graffiti.aspx; accessed [September 2009] v Darwin City Council; 2009; Graffiti Management Program, URL: http://www.darwin.nt.gov.au/documents/websitegraffitiplanmay09.pdf; accessed [September 2009] vi Brisbane City Council; 2008; Art in Public Places, URL: http://www.brisbane.qld.gov.au/bccwr/plans_and_strategies/documents/bcc73 96_art_policy_pages.pdf accessed [September 2009} vii City of Melbourne; 2009; Public Art, URL: http://www.melbourne.vic.gov.au/info.cfm?top=75&pg=3133; accessed [October 2009] viii NT Police; 2008; First Response Patrol: Zero Tolerance; URL http://nt.gov.au/pfes/index.cfm?fuseaction=page&p=469&m=109; accessed [April 2009] ix McLinden, Peter; Manager Transport and Infrastructure, Local Government Association NT; 2009; Supporting local government and communities; presentation given at the 2009 Department of Justice, NT Graffiti Management workshop; conference date: 24/06/09, conference location: Holiday Inn, The Esplanade, Darwin; accessed [October 2009] x Allen, Malcolm; Manger Power Networks, Power and Water Corporation ; 2009; Supporting local government and communities; presentation given at the 2009 Department of Justice, NT Graffiti Management workshop; conference date: 24/06/09, conference location: Holiday Inn, The Esplanade, Darwin; accessed [October 2009] xi Office of Youth Affairs; 2009; Building a Better Future Progress Report, URL: http://www.nt.gov.au/health/youth_affairs/home.shtml; accessed [June 2009] xii Zylstra, Sally; Senior Constable NT Graffiti Taskforce; 2009; Sanctions and Enforcement: A policing perspective and offender profiling; presentation given at the 2009 Department of Justice, NT Graffiti Management workshop; 30 conference date: 24/06/09, conference location: Holiday Inn, The Esplanade, Darwin; accessed [September 2009] xiii Jones, Mick 2003 'Graffiti culture and hip hop: working from within'. Mick Jones, Youth Worker Wollongong City Council. Paper presented at the Graffiti and Disorder Conference convened by the Australian Institute of Criminology in conjunction with the Australian Local Government Association and held in Brisbane, 18-19 August 2003; accessed [October 2009] xiv Encarta online dictionary; 2009; def. 'graffiti'; URL http://encarta.msn.com/encnet/refpages/search.aspx?q=graffiti accessed [April 2009] xv Australian Institute of Criminology; 1990; Report: Preventing Graffiti and Vandalism; URL: http://www.aic.gov.au/publications/previous%20series/crimprev/1- 11/graffiti.aspx; accessed [September 2009] xvi ARC Cultural Research Network; 2008; The Summary and Objectives of the CRC, URL http://www.uq.edu.au/crn/about.html; accessed [September 2009] xvii Graffiti Hurts Australia; 2008; URL http://www.graffitihurts.com.au/; accessed [September 2009] xviii Brisbane City Council; 2009; ArtForce; URL http://svc189.bne146v.server- web.com/artforce/; accessed [October 2009] xix Lawlink NSW: Crime Prevention Division: Publications/Resources: Partners in Crime; 2009; Partners in Crime Prevention Newsletter April 2004: Traffic Stopping anti-graffiti art; URL http://www.lawlink.nsw.gov.au/lawlink/cpd/ll_cpd.nsf/pages/CPD_newsletter_a pr04#Traffic; accessed [September 2009] xx Queensland Urban Ecology; 2009; Brisbane traffic art.1, URL: http://www.qldue.com.au/; accessed [October 2009] 7. Image Citations Cover art: Medlicott, Ryan; Phue's skin; 2009; Old Woolworths complex, Smith Street, Darwin City Page 19: Medlicott, Ryan; Smith, Tayla; Barret-McGuinn, Cai, et al.; 24 Hour exterior art; 2009; 24 Hour Eatery, Smith Street, Darwin City Page 22: Artist Unknown; TSB Artwork 'Invoke'; TSB in Brisbane CBD; URL http://www.scamp.ie/wp/wp-content/uploads/2008/08/invoke.jpg Page 23: Knap, John; TSB Artwork; 2008; Various TSB's around Brisbane CBD; URL http://www.flickr.com/photos/raeallen/131235990/ 31


text:
Fleetwood: voice for Colony rehab model
Date: April 24, 2013
by: Robin Hartill | City Editor
Last week, the Colony Beach & Tennis Resort Association Board voted 6-3 in favor of pursuing a rebuild of the shuttered resort.
Blake Fleetwood was one of the three opposing votes, which shouldn't come as a surprise to anyone following the great debate about the future of the Colony.
He's become an outspoken advocate for a rehabilitation of the property over the past year. In an April 3 op-ed titled, "The terminators attack the Colony" ("terminators" referred to plans that would require owners to sign away their deeds and terminate the condominium association), he criticized developer-termination plans as "vague and unspecific on key deal points."
So, just who is this board member?
If you read commission emails or letters and op-eds in local newspapers, you'll know this part of his résumé:
Blake Fleetwood was formerly on the staff of The New York Times and has written for The New York Times magazine, New York magazine, The New York Daily News, the Wall Street Journal, USA Today, the Village Voice, Atlantic and the Washington Monthly "on a number of issues," his email signature states.
Fleetwood, 69, lives in Manhattan and owns Cook Travel.
He first visited the Colony in the early 1990s with his wife and three sons because they'd "heard a lot about it as one of the best resorts in the world," although he "frankly was appalled" about the possibility of buying property in Florida.
"But Longboat Key won me over, and the tennis won me over, and the beaches won me over," Fleetwood said.
Property records show he purchased his unit for $205,000 in February 2005.
"At the time, I knew there were some problems, but I never imagined they would be of this magnitude," he said.
Fleetwood said he was "upset but a little heartened" when the Colony closed in August 2010. He didn't think it would be closed for long and thought the Association would be in control of the property.
He ran for the Association board last April, thinking his development experience would come in handy. (He's previously renovated brownstones in New York City.)
After his election, he vehemently opposed a rebuild plan proposed by the Broomfield, Colo.,-based Club Holdings Ventures, saying it would have cost him $300,000 to keep the deed to his unit.
Fleetwood contends that his unit, along with the majority of units, are in the same shape they were in the day the resort closed. In fact, he spent the night in his unit in 2011, but a town official notified him he wasn't allowed to do so because there was no water in the unit.
Board terms are two years long, so Fleetwood isn't up for re-election next month.
Fleetwood knows he isn't popular among a majority of the board's members right now.
"They feel that I'm sabotaging their redevelopment plans," he said. "I'm telling them that they're sabotaging their redevelopment plan."
"They feel that I'm sabotaging their redevelopment plans. I'm telling them that they're sabotaging their redevelopment plan."
— Blake Fleetwood
Currently 1 Response
- 1.
- Thanks for the profile. Just one correction. I am for a compromise solution, a hybrid, so to speak, that preserves grandfathered units , but still allows for new construction and new hotel condos near Gulf of Mexico Drive.
I want to keep the old flavor of the Colony with low rise construction, not a new cookie cutter skyscraper that looks like everything else being built on LBK
Blake Fleetwood
- Nov
29 Santa Jaws at Mote Aquarium
12:00 pm - 2:00 pm
- Dec
6 4th annual Longboat Key Gourmet Lawn Party
12:00 pm - 2:00 pm
- Dec
6 Santa Jaws at Mote Aquarium
12:00 pm
- Dec
13 Santa Jaws at Mote Aquarium
12:00 pm - 2:00 pm
Cumming heads back to school
Where in the world is Longboat Key Police Chief Pete Cumming?
Toys for Tots seeks holiday cheer
Toys for Tots needs help to make Christmas wishes come true for local children in need.
PHOTO GALLERY: Bird Key Yacht Club's Commodore's Ball
On Nov. 22, Bird Key Yacht Club held its annual Commodore's Ball.

subset: commoncrawl


text:
Buying 4 Bonaduce
Jordan is hunting for rare Partridge Family toys to impress Danny Bonaduce. After seeing a picture of Danny riding a unicycle on the set of The Partridge Family, Jordan goes out on a limb and purchases one in hopes of wow-ing him.
Travel Guide
Find restaurants, accommodations and activities from this episode.
Buying 4 Bonaduce Pictures
Jordan heads to Seattle in hopes of collecting rare Partridge ...
Removing the Rust
Jordan shares tips and tricks for removing surface rust from ...
Selling to Bonaduce
Jordan goes on Danny's radio show to sell him vintage ...
Buying for Bonaduce
Jordan searches for rare Partridge Family toys to impress ...
Editors' Picks
Twitter Watch & Win Sweepstakes Rules
The rules for the Toy Hunter Twitter ...
Toy Hunter
Get the details about Travel Channel's ...
Meet Jordan Hembrough
Meet Jordan Hembrough host of Toy Hunter.
Most Liked
Rare KISS Memorabilia
Jordan and Steve head to a flea market ...
Hogan's Beach Shop
Jordan searches through the personal ...
A Total Mego Maniac
Jordan takes DMC of the hip-hop group, ...
More Travel Inspirations
GAC America's Amusement Parks
Buckle up and take a tour of the most thrilling amusement parks in America.
3-Ingredient Apps for Thanksgiving
Try Food.com's quick and easy apps for a stress free turkey day.
Food Network's Top Turkey Day Tips
Plan Your Menu with easy, how-to videos from Bobby, Sunny and more.


text:
Start learning with our library of video tutorials taught by experts. Get started
Learn the basics of using Grasshopper, the visual programming add-on to Rhino, to create complex 3D models with simple math, algorithms, and repeating forms.
Create characters for video games or real-time rendered applications with Maya.
"I'm a new subscriber. I'm 10 minutes in and I can't thank you enough. I'm learning what would normally cost me nearly $1,000!" —Melissa K.
more from our members »


text:
The Noble Pig
- ericthered Jun 19, 2012 06:19 AM
Saw this on triple D last week and I'm thinking about trying it for lunch today. Anybody out there have any words about the place, atmosphere, food quality and value? Thanks
The Noble Pig and the tongue sandwich are both excellent, and the duck pastrami is good, too. I'm a fan of their pickles as well. I expect the other sandwiches are also good, but I keep coming back to those three! It's in kind of a crummy-looking strip mall; inside, the atmosphere is "lunch counter". Pleasant enough. It's a little pricier than your average sandwich place, but not overpriced for the quality. I'd recommend it without any caveats.
I can't think of another place in Austin to get a better sandwich. Lunch counter atmosphere is a good way to put it. The prices are on the upper end considering the location and atmosphere, but well worth it in my opinion. A word of warning - the line has increased dramatically with the new exposure. Go early or be prepared to wait.
I'm in the minority here, but the time I tried it I got the noble pig, and it was disappointing. A pulled pork sandwich should be overflowing with meaty goodness, mine had a small lump of unappealing meat. It was mostly bread....I need to try it again but wow there are much better sandwiches in Austin.
re: LakeLBJ
Agreed. My sandwich there was pretty meh. I'd rather go to Fricano's and get the Jonah anytime.
I've tried the noble pig and enjoyed it. Not long ago I had the duck pastrami and it was quite a disappointment. The pastrami was very fatty. I usually enjoy duck but this sandwich did not do it for me.
I enjoy the BLT and beef tongue sandwich at Noble Pig. I'm not a big fan of the Thai chicken or knuckle sandwich (which is like a bastardized French Dip and needs a little reworking).
I also like their breakfast dishes, which are reasonably priced and filling. The waffle with sausage is my fave from the menu.
They added a half sandwich option on the menu for $4.50. This is perfect for me as I usually want a side in addition to the potato chips and escabeche to go with the sandwich.
Atmosphere is good. One of the owners is usually manning the register, and you get a sense that they have quite a few regulars judging by how he chats with folks. It has outgrown its space though, but I think they're planning to knock down a wall between the current restaurant and the neighboring space that they also rent.
Word of advice... Go before 12 at all costs or come in for a late lunch. It's crazy busy between 12-1.
re: verily
"Go before 12 at all costs or come in for a late lunch. It's crazy busy between 12-1."
I second this advice. Also, the parking is terrible.
I hear if you go between 10-11, you can get breakfast or lunch.
re: TroyTempest
I always end up parking at the gas station and getting a dirty look. They need more parking spots over there. I'd call the property management's bluff, lots of empty strip mall space even just up the road. I like the Knuckle sandwich and the pastrami. My favorite thing though is the fresh potato chips. Really good flavor. I wish they sold them on the side.
re: Rptrane
Finally got to try this place today. Talk about an out of the way location! I tried tongue for the first time and really liked it. Tried the Nobel Pig and it was just ok. Tried the Thai Chicken and it was outstanding. But the best thing for me - by far - was the Asian soup with pork. So rich and delicious and the pork was delicious. Great place and one of the many unique treats that is Austin. Now I really want to try that Cajun restaurant down the road called Stuffed.
Had lunch there today. Brandon, one of the owners, told me they had just signed a lease for a second location on Burnet at 48th.
re: PappyAustin
Did he give you the scoop on the place next door that they used as their deli for a while?
re: amykragan
He said they had pretty much given up on using that space. They don't have the parking needed to get the building permits. In fact, he said they are going to consider relocating later this year because of the parking and seating limitations in their current space. Nice problem to have.
re: PappyAustin
Argh, that's horrible news to me. I can walk to their current location.
re: verily
lucky you (for now i guess). It's hell if you have to park
re: TroyTempest
the parking is awful. if they want to stay in the NW area, there are many open spots in the surrounding strip malls with lots of parking, some virtually empty.
re: PappyAustin
Yeah! Now THAT'S good news!
re: amysuehere
Well hell yes, that's good news because I live near 48th and Burnet. Also, I remember, during their first year in bid'ness, that I was worried whether they would make it. I hope, in some way, that I helped, at least a bit, by slinging praises their way on this venue.
re: rudeboy
I'm psyched too. I've always wanted to check this place out, but never had the time nor desire to drive that far for a sandwich, even though I know they're supposed to be fantastic.
re: popvulture
Sooooooo good! I don't want them to move too far...we need coolness up in these parts too!
re: girloftheworld
It sounds like they're expanding, rather than moving.....they're website shows where. Next to Pinthouse Pizza. My dream of opening a charcuterie shop on Burnet Rd. is ruined!
re: rudeboy
glad they are not leaving NW. we need all the deliciousness we can get up here in the hinterlands!
We felt like a weekend drive and took the long way through the lake to get there. I agree that their prices are on the high side considering they have to have low overhead in that location. We split a Noble Pig, pickles and coleslaw since it was a late lunch and we had steak dinner plans. The stuffing on the sandwich was indeed smaller than the bread but we both agreed it was very flavorful. The pickles and coleslaw were excellent. My new favorite coleslaw. The line was 4 deep when we got there but increased after we ordered. I doubt we'll drive all the way out there again but Burnet Road is in my hood. If they open in the Slow Burn (silly name I've heard my area referred to recently), I'll go again.
re: chispa_c
The breakfast is even more meager in size but damn the execution is on point. I had eggs bacon and a waffle. The waffle wasn't the size of an eggo but it all tasted great. I rarely complain about small portions unless then prices are sky high. They appear to be using real ingredients and taking their time. I 'll pay a premium for quality.
re: Rptrane
The breakfast menu did look good to me. I agree that paying a premium for quality is worth it. I just don't want to drive all the way out there again. I hope they open the Burnet location.
Just saw in the Austin Business Journal that the Noble Pig has signed a lease to relocate their 620 store. That is good news for all of us who have been frustrated with the lines and especially the parking challenge. Their new location will be Lake Creek Village shopping center. 12233 RR 620. Think that is the shopping center where there is a RC Fowlers Wing place.
re: PappyAustin
The latest I heard from them was they are moving into the old Vino then they are opening a new place out on 620
re: girloftheworld
The old Vivo space is at the address noted above on 620
re: PappyAustin
Talked to Brandon, one of the owners, today. The current location will close at Christmas and will re-open in their new location .6 mile to the east about January 15. The new Burnet Road store needs to obtain one final permit and the subsequent build out will take about 3 weeks. They hope to be open there by the end of November, but we all know how unpredictable that is. They were very busy at lunch time today.
re: PappyAustin
Thanks for the update Pappy. Where will the new location be on Burnet Road?
re: sweet100s
Near 49th St. Very close to The Omelettry.
re: PappyAustin
next door to pinthouse pizza
re: PappyAustin
Great intel! Thank you.


text:
+myConnections: Engage your community - connect to news, events and information you care about. View more information...
Debbie Wilmot
127 points
BG Hicks
20 points
Lafayette PIO
10 points
Personalize your online experience to stay up-to-date on news, events and other information.
Join naturalist, Martin Ogle for a family nature outing event on Coal Creek Saturday, Dec. 13th at 1:00pm.
Take a break from the holiday rush with a family outing on Coal Creek Trail in Lafayette! Celebrate the... Read on...


text:
Melbourne to Burbank Flights
Melbourne and Burbank airports and terminals
Airports in Melbourne FL, US
Melbourne Intl (MLB)
Distance from City Center: 1.1 miles
Orlando Airport (MCO)
Distance from City Center: 46.2 miles
Airports in Burbank CA, US
Bob Hope (BUR)
Distance from City Center: 2.5 miles
Los Angeles Airport, El Segundo (LAX)
Distance from City Center: 17.5 miles
Cheap flights from Melbourne to Burbank
Highlighted price = Cheapest round-trip flights
Prices are round trip per person (conditions apply)
Featured Burbank Airport Hotels
Los Angeles Marriott Burbank Airport
2500 North Hollywood Way Map
Rate includes breakfast
...The Los Angeles Marriott Burbank Airport is just the right mix of luxury and modernity.... Amenities include access to the Daily Grill Restaurant & Bar, full-service business center, a concierge... More
Quality Inn Burbank Airport
2255 N. Buena Vista St. Map
The Quality Inn hotel is conveniently located just minutes from the Burbank Airport, NBC, Universal Studios, Walt Disney, Warner Brothers, and ABC Studios.... More
Ramada Burbank Airport
2900 N San Fernando/I-5 Map
Save 10% on your stay
The Ramada Burbank Airport is 1.5 miles to Burbank Airport, just off Interstate Highway 5 at the Buena Vista Exit.... More
Extended Stay America - Los Angeles - Burbank Airport
2200 Empire Ave Map
At Extended Stay America, only 1 mile from Burbank, guests find a friendly home away from home whether they stay a day, a week or a month. Fully equipped kitchens in each of our 140 spacious... More
Courtyard by Marriott Los Angeles Burbank Airport
2100 Empire Avenue Map
Rate includes breakfast
Come enjoy L.A.'s first new state-of-the-art Courtyard lobby experience at the newly renovated Courtyard Burbank. Complimentary WiFi, business center, Print & Go boarding pass station, and the... More
Hampton Inn & Suites Los Angeles Burbank Airport
7501 North Glenoaks Boulevard Map
Free On The HouseT hot breakfast, Wi-Fi
stay at the center of it all...welcome to the Hampton Inn & Suites Los Angeles - Burbank Airport, CA.Guests at our Los Angeles/Burbank Airport hotel delight in staying in the center of it all.... More
Flights to Burbank
Melbourne International Airport in Melbourne, Florida
When it comes to cheap flights from Melbourne, Orbitz.com has all the information that you need. Located near Interstate 95 and U.S. Highway 1, Melbourne International Airport is the airport closest to the beaches, Kennedy Space Center, and Port Canaveral cruise ships. Choose from Baer Air, Delta Blue, or US Airways for your flight. The airport opens two hours before the first flight, and it closes approximately an hour after the last flight. If you are using GPS or a map to locate the airport, look for One Air Terminal Parkway in Melbourne.
Parking and Transportation Near the Airport
Covered walkways, handicapped parking spaces, and a location convenient to the entrance make Melbourne International Airport's parking area easy for travelers to use. Relax knowing that the parking lot is monitored by a video surveillance system and the airport's very own police department. Rates begin at $1 for the first 30 minutes and cap out at $10 per day.
If you don't wish to bring your car to the airport, you have other options. An airport shuttle makes it easy to get from point A to point B. You can also take advantage of the onsite car rentals from Avis, National, Budget or Hertz. Limousine services allow you to ride in luxury, but you might prefer to get a cab. Greyhound terminals are located near Melbourne International Airport, and Space Coast Area Transit is another option for folks looking for a bus. Orbitz.com can help you explore your transportation options in detail and find something that matches your budget.
Dining Options for Melbourne Travelers
Sit down and enjoy a tasty meal or hot beverage between 6 a.m. and 7 p.m. at the Runway Grille, Melbourne International Airport's very own bar and full-service restaurant. If you would rather snack on the go, grab a drink or some chips from the Gate 1 Bar and Café between 6 a.m. and 5 p.m. Local restaurants known for their delicious breakfast options include Denny's, Harold's Diner, and Blueberry Muffin. You can also grab a healthy strawberry banana smoothie at the Tropical Smoothie Café. Orbitz.com can help you find the best restaurants near the airport, as well as book cheap flights from Melbourne, Florida.
Bob Hope Airport
Find a number of cheap flights to Burbank by searching Orbitz.com. Located on North Hollywood Way, the Bob Hope Airport is about three miles from downtown Burbank and within driving distance of a number of high-profile destinations. Alaska, Delta, JetBlue, Southwest, US Airways and United Express all provide service to and from Burbank. It is the only airport in the region to have a direct rail line to downtown Los Angeles.
Transportation From the Airport
Passengers can find a taxi or shuttle in the center pedestrian aisles in front of the airport. For visitors looking for a cab, City Cab, United Taxi and Yellow Cab all offer service to the surrounding areas in Burbank and Los Angeles County, and many local hotels offer shuttle service. In the event your hotel does not offer a shuttle, there are several companies that provide service from Bob Hope Airport. Premiere Airport Van, Prime Time Shuttle, Roadrunner Shuttle and Super Shuttle all offer their services to visitors. Metrolink offers a free shuttle to the downtown Burbank Metrolink Station for passengers leaving the airport.
Weather in Burbank
Burbank is known for its mild climate. From an average low in the winter of around 44º F to highs in summer averaging around 88º F, you can expect fairly nice weather year-round. Spring is probably the nicest time to visit, as temperatures average between 55º and 76º F.
Popular Attractions in Burbank
Burbank is the home of a number of film studios, including Walt Disney and Warner Bros. Several popular talk shows are filmed in the area, including the Jay Leno Show and the Ellen DeGeneres Show. Tickets are available on a first-come, first-served basis. Visitors looking for the cheapest time of year to go to Burbank should check out winter ticket prices. For more information on cheap flights to Burbank, be sure to visit Orbitz.com.
More to explore for Melbourne to Burbank
Fare, taxes & fees: Fares include all taxes and fees, except baggage fees. Rates shown reflect fares found by other Orbitz users over the past 48 hours. Due to rapidly changing airline prices & seat availability, these fares may no longer be available.
Refunds/changes/cancellations: Itinerary changes, if permitted for the fare, will have a $30 service fee charged by Orbitz. Additional airline charges may apply.
Other conditions: Schedules, fares and rules are subject to change without notice. Seats are limited and may not be available on all flights/dates or in all markets. Lower fares may be available. Fares will not be honored retroactively or in exchange for any wholly/partially unused ticket. Tickets are non-transferable and non-refundable. Fare rules are provided for the selected itinerary before booking.


text:
Friday, Nov 21, 2014 9:30 AM
BREAKING: Florida FWC removes ban on suppressors for hunting
ALERT: FWC Removes Ban on Suppressors for Hunting DATE: November 21, 2014 TO: USF & NRA Member and Friends FROM: Marion P. Hammer USF Executive… Read more »
The Gun Writer
Friday, Nov 21, 2014 9:30 AM
ALERT: FWC Removes Ban on Suppressors for Hunting DATE: November 21, 2014 TO: USF & NRA Member and Friends FROM: Marion P. Hammer USF Executive… Read more »
Thursday, Nov 13, 2014 3:00 PM
Could there be a better Christmas present for young sportsmen? Gov. Rick Scott on Thursday signed an executive order dropping the price of a Lifetime… Read more »
Friday, Oct 31, 2014 5:34 AM
Lee's note: This was just released from the National Shooting Sports Foundation.
Wednesday, Oct 15, 2014 5:48 AM
The League of Women Voters of Florida has conducted more than 30 compliance checks at gun shops across the state. Deirdre Macnab, Florida League's current… Read more »
Thursday, Sep 11, 2014 4:05 AM
Lee's note: This just arrived from the News Service of Florida. FLORIDA MAY EXPAND USE OF SILENCERS FOR HUNTING By JIM TURNER THE NEWS SERVICE… Read more »
Tuesday, Sep 2, 2014 3:28 AM
Lee's note: This story also appeared in today's newspaper. It is reprinted here in its entirety. You can watch a video of my interview with… Read more »
Thursday, Jul 24, 2014 3:52 AM
Lee's note: It's become an all too familiar problem. A hunter posts a picture online of an animal they've harvested and then they're blasted, ridiculed… Read more »
Tuesday, Apr 15, 2014 4:43 AM
Lee's note: The National Shooting Sports Foundation says this is the best legislation for sportsmen in a generation. The bill will prevent anti-hunting groups from… Read more »
Friday, Mar 28, 2014 4:38 AM
Have you heard the one about the game warden who can walk right into your home on a whim and rip open your freezer looking… Read more »
Thursday, Mar 27, 2014 4:39 AM
Tuesday, Nov 26, 2013 7:14 AM
Lee's note: A timely reminder from the National Shooting Sports Foundation.
Thursday, Nov 21, 2013 5:20 AM
Lee's note: This just in from the FWC, via the Outdoor Wire. The changes will affect hunters from Pensacola to Tallahassee. FWC proposes new deer… Read more »
Friday, Nov 8, 2013 4:35 AM
With the exception of S&W's venerable "Ladysmith," most attempts by the firearms industry to market a product to women have be dismal failures and a… Read more »
Thursday, Sep 26, 2013 4:27 AM
Lee's Note: The U.S. Fish and Wildlife Service commissions a national study every five years to determine the economic impact of hunting, fishing and outdoor… Read more »
Tuesday, Sep 24, 2013 7:27 PM
Steve Sanetti has been CEO of the National Shooting Sports Foundation – the trade association of the firearms industry – since 2008. Unlike NRA presidents… Read more »
Friday, Sep 20, 2013 8:17 AM
Wednesday, Sep 11, 2013 4:30 AM
Lee's note: The Families Afield program, which was started in 2004 by the National Shooting Sports Foundation has reached an impressive milestone. They have introduced… Read more »
Tuesday, Sep 10, 2013 2:58 AM
Lee's note: Last week, The Florida Fish and Wildlife Conservation Commission (FWC) created a new hunting and fishing license exemption for disabled veterans, active and… Read more »
Monday, Sep 9, 2013 5:45 AM
Lee's note: This just in from the The Florida Fish and Wildlife Conservation Commission (FWC). At Sept. 6 commission meeting in Pensacola, the FWC passed… Read more »
Tuesday, Jul 30, 2013 4:42 AM
In a story published Thursday, I gave equal time to those who raise captive deer in this state, who oppose closing the borders to the… Read more »
Thursday, Jul 25, 2013 5:12 AM
Yesterday's story on the perils of Chronic Wasting Disease certainly provoked a unique response. I heard from many good folks who raise captive deer, who… Read more »
Wednesday, Jul 24, 2013 4:42 AM
Lee's note: Chronic Wasting Disease scares me. As a native of the upper Midwest, I've seen deer that have been infected with CWD. They're pathetic… Read more »
Tuesday, Jul 16, 2013 9:18 AM
Three northwest Florida lawmakers have reversed their positions on the importation of captive deer into the state, and are now calling on the Florida Fish… Read more »
Thursday, May 16, 2013 4:20 AM
…will be the topic of an upcoming public forum: Invasive Species and the Law. Everyone – especially sportsmen – concerned about conservation should be very… Read more »


text:
Dr. Gary M. Cederlind, DO
Internal Medicine, Kaiser Permanente Medical Group
- 10725 International Dr
Rancho Cordova, CA 95670
- 1 Office Location
- (916) 631-2400
Dr. Gary M. Cederlind has been practicing medicine for 28 years. Dr. Cederlind graduated from the Western Univ of Health Sciences College of Osteopathic Medicine of the Pacific in 1986. He practices medicine in Rancho Cordova, CA and specializes in Internal Medicine. Dr. Cederlind is affiliated with Kaiser Permanente Medical Center - Roseville. He speaks English and Spanish.
Gender: Male
Years in Practice: 28 Years
Languages Spoken: English, Spanish
Medical School: Western Univ of Health Sciences College of Osteopathic Medicine of the Pacific
Graduation Date: 1986
Hospital Affiliations: Kaiser Permanente Medical Center - Roseville
Specialties: Internal Medicine


text:
Kona 2014
Gear & Tech
Triathlete Buyer's Guide
Shoe Directory
Training + Plans
Route Finder
Like Triathlete on Facebook
Follow Triathlete on Twitter
The Transition Newsletter
Triathlete Newsletters
Subscribe to Triathlete
Triathlete Bundle
View Current Issue
Manage Subscription
Triathlete Digital
Give a Gift
Race Calendar
All Deuceman Triathlon: Page 1
Photo Gallery: DeuceMan Triathlon
By Webmaster
Published Jun 7, 2011
The Deuces Wild triathlon Festival in Show Low, AZ took place under clear desert skies. The swim in Fool Hollow Lake, bike through nearby
Most Read
Popular Now
Most Watched
Review: Blueseventy Core Shorts
Run Your Way To A Faster Ironman Finish
Men Of Triathlon Calendar Available For Pre-Order
Cycling Drills For Triathletes
What To Do When The Pool Is Packed
10 Ways To Use Canned Pumpkin
Apolo Ohno Takes On Triathlon: Ironman World Championship
2014 Challenge Bahrain Professional Start List
How Often Should I Replace My Running Shoes?
5 Off-Season Rules
Sportsmanship Rules The Day At Laguna Phuket Triathlon
Hill Repeats You're Not Sick Of
Studies Find Steady Efforts On The Bike Are Best
Men Of Triathlon Calendar Available For Pre-Order
Racing Weight: The Benefits Of Eating A Big Breakfast
15 Must-Haves: Essential Beginner Tri Gear
Video: Brent McMahon Goes Sub-8 In Ironman Debut
Video: Meredith Kessler Leads Wire To Wire At Ironman Arizona
Video: Quantifying Your Recovery
Video: Heather Jackson Finishes 3rd In Pro Ironman Debut
Video: How To Do A Flip-Turn
Ben Hoffman: I Executed My Perfect Race
Video: Trevor Wurtele's Ironman Arizona Race Report
Meredith Kessler Competing At Her 11th Ironman Arizona Race Sunday
Sign up for our free e-newsletter,
SBR Report!
View sample
Privacy Policy


text:
ProKarma PROGRAMMER ANALYST Jobs & Careers in Nebraska
Senior Software Engineer (Java)
ProKarma – Omaha, NE
ProKarma is currently hiring for Senior-level Java developers to join our team as a full-time employee. We hire developers experienced with J2EE… ProKarma
Senior Software Engineer (.NET)
ProKarma – Omaha, NE
Were currently hiring for Senior-level .NET developers that would like to join our team as a full-time employee. The selected individual should be… ProKarma
ProKarma Photos
ProKarma Reviews
"very good place to work "
- Comp & Benefits
- Work/Life Balance
- Senior Management
- Culture & Values
- Career Opportunities
I have been working at ProKarma full-time (more than 5 years)Pros
company is investing in its people and emerging technologies. saw innovation lab recently. very impressive. some of the tools and frameworks the company is building is world class.Cons
not much to write about. they should keep the level of personal connect they have now as they growAdvice to ManagementAdvice
keep up with the growth and emerging technologies. best wishes to you. I enjoy my work here.RecommendsPositive OutlookApproves of CEO