Spray Paint Wall Quotes

I've apparently been the victim of growing up, which apparently happens to all of us at one point or another. It's been going on for quite some time now, without me knowing it. I've found that growing up can mean a lot of things. For me, it doesn't mean I should become somebody completely new and stop loving the things I used to love. It means I've just added more things to my list. Like for example, I'm still beyond obsessed with the winter season and I still start putting up strings of lights in September. I still love sparkles and grocery shopping and really old cats that are only nice to you half the time. I still love writing in my journal and wearing dresses all the time and staring at chandeliers. But some new things I've fallen in love with -- mismatched everything. Mismatched chairs, mismatched colors, mismatched personalities. I love spraying perfumes I used to wear when I was in high school. It brings me back to the days of trying to get a close parking spot at school, trying to get noticed by soccer players, and trying to figure out how to avoid doing or saying anything uncool, and wishing every minute of every day that one day maybe I'd get a chance to win a Grammy. Or something crazy and out of reach like that. ;) I love old buildings with the paint chipping off the walls and my dad's stories about college. I love the freedom of living alone, but I also love things that make me feel seven again. Back then naivety was the norm and skepticism was a foreign language, and I just think every once in a while you need fries and a chocolate milkshake and your mom. I love picking up a cookbook and closing my eyes and opening it to a random page, then attempting to make that recipe. I've loved my fans from the very first day, but they've said things and done things recently that make me feel like they're my friends -- more now than ever before. I'll never go a day without thinking about our memories together.

I spray the sky fast. Eyes ahead and behind. Looking for cops. Looking for anyone I don't want to be here. Paint sails and the things that kick in my head scream from can to brick. See this, see this. See me emptied onto a wall.

Some spray-painted graffiti on the wall asks, Is it nothing to you all who pass by? Lamentations 1:12 and I think, No, Lord, whoever the hell You are, this is not nothing to me. This counts.

I don't have any problem understanding why people flunk out of college or quit their jobs or cheat on each other or break the law or spray-paint walls. A little bit outside of things is where some people feel each other. We do it to replace the frame of family. We do it to erase and remake our origins in their own images. To say, I too was here.

We humans have an impulse to mark our existence in some way that feels permanent. We scribble ‘I was here’ onto our desks at school. We spray paint it on walls. We carve it into bark. I was here. I wanted this sculpture to do to the same, to let it be know that these people lived. A testament to the fact that these humans — with their long strings and medium strings and short strings — they were here.

Never let it be said that Sherlock troubles himself with such petty concerns as the [flat] security deposit. Note the bullet holes in the wall. You might not be able to see them as they are well-hidden by the spray-painted smiley-face.

as had the graffiti spray-painted in red on one of the corridor walls: THE CAKE IS A LIE.

I open the gallery door, walk in with that sinking feeling I always have in galleries. It’s the carpets that do it to me, the hush, the sanctimoniousness of it all: galleries are too much like churches, there’s too much reverence, you feel there should be some genuflecting going on. Also I don’t like it that this is where paintings end up, on these neutral-toned walls with the track lighting, sterilized, rendered safe and acceptable. It’s as if somebody’s been around spraying the paintings with air freshener, to kill the smell. The smell of blood on the wall.

East German punks used to spray-paint the phrase Stirb nicht im Warteraum der Zukunft—Don’t die in the waiting room of the future—on walls in Berlin. It wasn’t about self-preservation. It was an indictment of complacency. It was a battle cry: Create your own world, your own reality. DIY. Revolution.

The plain shiprock walls, and the painted statue of Lord Pas (from which the paint was peeling) will remain with me until the day I die, always somewhat colored by the wonder I felt as a small boy at seeing a black cock struggling in the old man’s hands after he had cut its throat, its wings beating frantically, beating as if they might live after all, live somehow somewhere, if only they could spray the whole place with blood before they

And that's what we'll do every day. If you or your friends spray-paint obscenities on our walls, we'll scrub them off, and the people will come. if you break our windows, we'll fix them, and the people will come. If you hurt us, we'll wash off the blood, slap on some bandages and the people will come...any wound you inflict, we'll stitch up. We're not going to stop, no matter what you do. This work is too important. Too many lives are at stake.

The plain shiprock walls, and the painted statue of Lord Pas (from which the paint was peeling) will remain with me until the day I die, always somewhat colored by the wonder I felt as a small boy at seeing a black cock struggling in the old man’s hands after he had cut its throat, its wings beating frantically, beating as if they might live after all, live somehow somewhere, if only they could spray the whole place with blood before they failed. My

I don’t like stories. I like moments. I like night better than day, moon better than sun, and here-and-now better than any sometime-later. I also like birds, mushrooms, the blues, peacock feathers, black cats, blue-eyed people, heraldry, astrology, criminal stories with lots of blood, and ancient epic poems where human heads can hold conversations with former friends and generally have a great time for years after they’ve been cut off. I like good food and good drink, sitting in a hot bath and lounging in a snowbank, wearing everything I own at once, and having everything I need close at hand. I like speed and that special ache in the pit of the stomach when you accelerate to the point of no return. I like to frighten and to be frightened, to amuse and to confound. I like writing on the walls so that no one can guess who did it, and drawing so that no one can guess what it is. I like doing my writing using a ladder or not using it, with a spray can or squeezing the paint from a tube. I like painting with a brush, with a sponge, and with my fingers. I like drawing the outline first and then filling it in completely, so that there’s no empty space left. I like letters as big as myself, but I like very small ones as well. I like directing those who read them here and there by means of arrows, to other places where I also wrote something, but I also like to leave false trails and false signs. I like to tell fortunes with runes, bones, beans, lentils, and I Ching. Hot climates I like in the books and movies; in real life, rain and wind. Generally rain is what I like most of all. Spring rain, summer rain, autumn rain. Any rain, anytime. I like rereading things I’ve read a hundred times over. I like the sound of the harmonica, provided I’m the one playing it. I like lots of pockets, and clothes so worn that they become a kind of second skin instead of something that can be taken off. I like guardian amulets, but specific ones, so that each is responsible for something separate, not the all-inclusive kind. I like drying nettles and garlic and then adding them to anything and everything. I like covering my fingers with rubber cement and then peeling it off in front of everybody. I like sunglasses. Masks, umbrellas, old carved furniture, copper basins, checkered tablecloths, walnut shells, walnuts themselves, wicker chairs, yellowed postcards, gramophones, beads, the faces on triceratopses, yellow dandelions that are orange in the middle, melting snowmen whose carrot noses have fallen off, secret passages, fire-evacuation-route placards; I like fretting when in line at the doctor’s office, and screaming all of a sudden so that everyone around feels bad, and putting my arm or leg on someone when asleep, and scratching mosquito bites, and predicting the weather, keeping small objects behind my ears, receiving letters, playing solitaire, smoking someone else’s cigarettes, and rummaging in old papers and photographs. I like finding something lost so long ago that I’ve forgotten why I needed it in the first place. I like being really loved and being everyone’s last hope, I like my own hands—they are beautiful, I like driving somewhere in the dark using a flashlight, and turning something into something completely different, gluing and attaching things to each other and then being amazed that it actually worked. I like preparing things both edible and not, mixing drinks, tastes, and scents, curing friends of the hiccups by scaring them. There’s an awful lot of stuff I like.

If anything, the LAPD had long and famously been guilty of overreaction, as they had shown, for example, during the infamous 1988 raid on two small, adjacent apartment buildings on South Central’s Dalton Avenue. There, eighty LAPD officers had stormed the buildings looking for drugs on a bullshit tip. After handcuffing the terrorized residents—including small children and their grandparents—they then spent the next several hours tearing all the toilets from the floors; smashing in walls, stairwells, bedroom sets, and televisions with sledgehammers; slashing open furniture; and then sending it all crashing through windows into the front yard and arresting anyone who happened by to watch. As they were leaving, the officers spray-painted a large board located down the street with some graffiti. “LAPD Rules,” read one message; “Rolling 30s Die” read another. So completely uninhabitable were the apartments rendered that the Red Cross had to provide the occupants with temporary shelter, as if some kind of natural disaster had occurred. No gang members lived there, no charges were ever filed. In the end, the city paid $3.8 million to the victims of the destruction. A report later written by LAPD assistant chief Robert Vernon called it “a poorly planned and executed field operation [that] involved . . . an improperly focused and supervised aggressive attitude of police officers, supervisors and managers toward being ‘at war’ with gang members.” The

During the antiglobalization years at the turn of twenty-first century, I frequently found myself in baffling arguments about the use of "violence" in demonstrations with pacifists or others who self-described as adhering to a strict code of nonviolence. Many of the same folks who argued that we shouldn't do anything that could hurt someone else's property consistently yelled at their companions until they felt threatened, and engaged in intensely damaging emotional manipulations and passive-aggressive maneuvers in meetings and during demonstrations. Countless times, I saw "nonviolent" demonstrators physically hurt other protestors by attempting to drag them out of the streets for spray painting a wall or breaking a window. Why do people feel justified in trying to pacify others--often with little context for one another? Such vehement attempts to try to contain other's rage and rebellion leads to an unnecessary escalation of conflict between those of us who should be able to struggle together instead of against one another. (Original Zine: Ain't no PC Gonna Fix it, Baby. 2013. Featured in: A Critique of Ally Politics. Taking Sides.)

Julie had the map and was trying to navigate, but she didn’t know about one-way streets. After a half hour of detours and dead ends, we finally turned onto Willner. “Not exactly the high-rent district,” Jack said. Every block had several boarded-up buildings. All the fences and half the walls had been spray-painted with slogans, some in foreign languages. “I wish I had a gun,” I said. Jack laughed. “Relax, Eddie. You sound like a hick from the sticks.” “I am a hick from the sticks. I just hope we don’t get mugged.” He laughed again. “Who’d mug you? You don’t have anything worth stealing.” “I’m putting my money in my shoe all the same.

I admired Bolden’s abilities. I’ve long thought that a good prosecutor is a well-trained union carpenter building a sturdy house with shiny tools and freshly hewn wood. She follows blueprints to the letter, makes sure the framing is in plumb, lines up the two-by-fours, and hammers the nails straight. The best courtroom carpenters are Renaissance men and women. They double as bricklayers, installers, tapers, finishers, electricians, and even plumbers. They can build the whole damn house, and it’s a thing of beauty that will pass the toughest inspection by city inspectors . . . or juries. Until the defense lawyers come along. We’re the stealthy vandals wielding crowbars and spray paint. We tear down door frames, break windows, and spray graffiti on the walls. Our job is to destroy what the carpenters have built and feed it into the woodchipper.

The 1-Train came to a slow stop somewhere between Columbus Circle and Lincoln Center. The lights went out and most everyone on board panicked. Tommy could easily tell which of the passengers were tourists and which were not by the levels of alarm they displayed. It was funny to him just how obvious people could sometimes be. He took the moment to appreciate the artwork spray-painted onto the tunnel walls just behind the window. There were areas of New York that Tommy knew he would never get the chance to see, which bothered him more than most anything else. It was moments like these that he savored, considering himself even luckier than he was just the moment before.

There were two-foot-tall coils of barbed wire over the bridge wall that caught shopping bags in their spikes and shredded them. I watched those plastic ribbons fight in the wind, and far below saw concrete irrigation ditches that once contained the Rio Grande. The water dissipated, the only thing to see was the concrete spray painted with graffiti. The city, like the river, had dried up and left little in its place.

How did you get in?” he asked and then immediately shook his head and waved the question away. “Never mind. I really don't want to know. However, if on Monday I find that the walls have been spray painted, I'll know who to point the finger at.” “Paint is not my medium,” I sniffed, offended. “Oh really? What exactly is your medium?” He locked the door behind us as we stepped out into the night. “Wood,” I clipped, wondering why I was telling him. Let him think I was a graffitti artist. Who the hell cared. “You do,” a little voice taunted mildly. And I did. “And what exactly do you do with wood?” “I carve it.” “People, bears, totem poles, what?” “Totem poles?!” I was incredulous. “Is that supposed to be some kind of slam to my ethnicity?” “Your ethnicity? I thought you told me you weren't Native American.” “I don't know what the hell I am, but that still sounded like a slam, Sherlock!” “Why don't you know what you are, Blue? Haven't you ever tried to find out? Maybe that would make you less hostile!” Wilson seemed frustrated. He stomped ahead of me, almost talking to himself. “Absolutely impossible! Having a conversation with you is like trying to converse with a snake! You are vulnerable and tearful one moment and hissing and striking the next. I frankly don't know how to reach you, or even if I want to! I only said totem poles because they are usually carved from wood, all right?” He turned and glared at me. “Cranky when you stay up past your bedtime, aren't you?” I mumbled.

As if the social imbalances and fear maintained by police violence are peace! Those who argue that the police sometimes do good things bear the burden of proving that those same good things could not be accomplished at least as well by other means. In any case, it’s not as if a police-free society is suddenly going to appear overnight just because someone spray-paints “Fuck the Police” on a wall. The protracted struggle it will take to free our communities from police repression will probably go on as long as it takes us to learn to coexist peacefully; a community that can’t sort out its own conflicts can’t expect to triumph against a more powerful occupying force. In the meantime, opposition to police should be seen as a rejection of one of the most egregious sources of oppressive violence, not an assertion that without police there would be none. But if we can ever defeat and disband the police, we will surely be able to defend ourselves against less organized threats.

At the window, with it open, as rain sang across the land once dry, so the rain slipped in threads of current down cracks and toward the lows, the man wiped his glasses free of spray—beads that had hit the sill and splattered at him. He cleared his throat, put the glasses back on, picked up a cigarette weaving smoke into the pale-yellow room—a light cast by a single bulb dangling above the kitchen table from a cord, makeshift. “Would you say,” said the man now ashing his cigarette, smoke staining his words, his eyes toward the rain, “that I am very brave?” He then looked at the woman, wrapped in a blanket, her eyes tight against the chill, her body frail with age and labor, her hair winced gray by days. She tightened the blanket across her shoulders, leaned against a wall—faded white paint, cracked and spotting. “These days?” she said, and looked now at the rain, sighed as if she knew it only came to wash her off the land, to hoist their home from its foundation in a torrent toward the death of it—nature ravaging its boards and bones to splinters and shingles and scraps and refuse that would toss wildly in the breath of flood until it came to rest unrecognizable. She closed her eyes. Turned from the man. “I wouldn’t even call you handsome.

The mirror above the dresser is shattered, and whore is spray painted on the wall above my bed. I’m sure they thought they were being cruel with their threat, but it’s been a year since I’ve had sex. So if anything, it’s a reminder of my pathetic dating life.

Who were these people who were Nico's friends at that club? It seemed like an Italian-Spanish coffeeshop. I'm not sure, it was quite far from downtown in a pretty hidden location. I don't remember the name of the club or the street, but if I drive from Urgell I can find it. I took a few pictures outside the reception area while we were waiting outside with Adam to be allowed to enter after being registered as club members. They took our entry into the almost empty private club very seriously, unlike my girlfriend selling weed in their dispensary at age 20, when I just gave her a job elsewhere. The pictures I took were of two skateboards hanging on the wall next to each other. They were spray-painted with smiling devilish faces, the comedy and tragedy masks. („Sock and buskin: The sock and buskin are two ancient symbols of comedy and tragedy. In ancient Greek theatre, actors in tragic roles wore a boot called a buskin (Latin cothurnus). The actors with comedic roles wore only a thin-soled shoe called a sock (Latin soccus).” – Source: Wikipedia) There was another skateboard hanging on the wall, showing the devil smiling with his eyes and teeth and horns only visible in the darkness of the artwork. I doubt they were Italians – they were rather Spaniards – but I never really met anyone else from there besides Nico and Carulo. But I trusted Carulo; he was different. Carulo was a known person in Catalonia. He was known to be the person who was sitting in the Catalan Parliament and rolled a joint and lit it up, smoking during a session as a protest against the law prohibiting marijuana growing and smoking in Spain. Nico told me when he introduced me to Carulo in the summer of 2013, almost a year earlier: “This is the guy you can thank for being able to smoke freely in Catalonia without the police bothering you. Tomas, meet Carulo.” He never really ordered from me if I had met him before. He had no traffic; his growshop was always closed. He was only smoking inside with his younger brother, who was always walking his bull terrier. Their white Bull Terrier was female, half the size of Chico, but she was kind of crazy; you could see in her eyes that she was not normal; she had mental issues. At least, looking into Carulo's eyes and his brother's eyes, I recognized the similar illness in their dog's eyes. In 2014, it had been over four years since I had been working with dogs in my secondary job interpreting Italian and travelling every fifth weekend. Additionally, Huns came to Europe with their animals, including their dogs. There are at least nine unique Hungarian dog breeds.

Life is a full contact sport, no one gets out alive. Spray painted on wall, Tucson AZ

Page 207 In the inner cities of all the major metropolitan areas across the United States, ethnic Koreans represent an increasingly glaring market-dominant minority vis-à-vis the relatively economically depressed African-American majorities around them. In New York City, Koreans, less than .1 percent of the city’s population, own 85 percent of produce stands, 70 percent of grocery stores, 80 percent of nail salons, and 60 percent of dry cleaners. In portions of downtown Los Angeles, Koreans own 40 percent of the real estate but constitute only 10 percent of the residents. Korean-American businesses in Los Angeles County number roughly 25,000, with gross sales of $4.5 billion. Nationwide, Korean entrepreneurs have in the last decade come to control 80 percent of the $2.5 billion African-American beauty business, which—“like preaching and burying people”—historically was always a “black” business and a source of pride, income, and jobs for African-Americans. “They’ve come in and taken away a market that’s not rightfully theirs,” is the common, angry view among inner-city blacks. Page 208 At a December 31, 1994, rally, Norman “Grand Dad” Reide, vice president of Al Sharpton’s National Action Network, accused Koreans of “reaping a financial harvest at the expense of black people” and recommended that “we boycott the bloodsucking Koreans.” More recently, in November 2000, African-Americans firebombed a Korean-owned grocery store in northeast Washington, D.C. The spray-painted message on the charred walls: “Burn them down, Shut them down, Black Power!

On the left wall, someone spray-painted the slogan: YOU’RE EITHER ON THE BUS OR OFF THE BUS! And on the right, like a magic incantation: !SUB EHT FFO RO SUB EHT NO REHTIE ER’UOY The quote is by Ken Kesey, author of One Flew Over the Cuckoo’s Nest and a major counterculture figure in the sixties. On the cross-country Great Bus Trip of 1964, he and his Merry Pranksters took their Acid Tests on the road. Whenever the bus stopped, a Prankster would wander off and could not be found, leading Kesey to declare, “You’re either on the bus or off the bus.” Either part of the group’s trip or left behind to do your own thing.

He talked for a long time. He named the towns and villages. The mud pueblos. The executions against the mud walls sprayed with new blood over the dried black of the old and the fine powdered clay sifting down from the bulletholes in the wall after the men had fallen and the slow drift of riflesmoke and the corpses stacked in the streets or piled into the woodenwheeled carretas trundling over the cobbles or over the dirt roads to the nameless graves. There were thousands who went to war in the only suit they owned. Suits in which they’d been married and in which they would be buried. Standing in the streets in their coats and ties and hats behind the upturned carts and bales and firing their rifles like irate accountants. And the small artillery pieces on wheels that scooted backwards in the street at every round and had to be retrieved and the endless riding of horses to their deaths bearing flags or banners or the tentlike tapestries painted with portraits of the Virgin carried on poles into battle as if the mother of God herself were authoress of all that calamity and mayhem and madness.