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more... The Practice - 4x18 - Death Penalties 
2009-10-20 - extension: rar - parts: 3 - size: 92 MB
The Practice - 4x18 - Death Penalties
Hosted on: rapidshare.com
The Practice 418 Death Penalties.part3.rar
If password needed look here: http://www.tv-mafia.com/node/479
2008-05-12 - extension: rar - size: 22 MB
The Practice 418 Death Penalties.part3.rar
If password needed look here: http://www.tv-mafia.com/node/479
Hosted on: rapidshare.com
Video results for: the practice death penaltiesMore results from video
Graffiti Fuk Crew-Velo,Fers,Cano,Plug
PLEASE RATE AND COMMENT Graffiti Fuk Crew-Velo,Fers,Cano,Plug The late 1970s and early 1980s (More) PLEASE RATE AND COMMENT Graffiti Fuk Crew-Velo,Fers,Cano,Plug The late 1970s and early 1980s brought a new wave of creativity to the scene. As the influence of graffiti grew, beyond the Bronx, a graffiti movement begun by encouragement by Friendly Freddie. Fab 5 Freddy (Fred Brathwaite) is another popular graffiti figure of this time, often credited with helping to spread the influence of graffiti and rap music beyond its early foundations in the Bronx. It was also, however, the last wave of true bombing before the Transit Authority made graffiti eradication a priority. The MTA (Metro Transit Authority) began to repair yard fences, and remove graffiti consistently, battling the surge of graffiti artists. With the MTA combating the artists by removing their work it often led many artists to quit in frustration, as their work was constantly being removed. It was also around this time that the established art world started becoming receptive to the graffiti culture for the first time since Hugo Martinez's Razor Gallery in the early 1970s. Just as the culture was spreading outside New York and overseas, the cultural aspect of graffiti in New York was said to be deteriorating almost to the point of extinction. The rapid decline in writing was due to several factors. The streets became more dangerous due to the burgeoning crack epidemic, legislation was underway to make penalties for graffiti artists more severe, and restrictions on paint sale and display made racking (stealing) materials difficult. Above all, the MTA greatly increased their anti-graffiti budget. Many favored painting sites became heavily guarded, yards were patrolled, newer and better fences were erected, and buffing of pieces was strong, heavy, and consistent. As a result of subways being harder to paint, more writers went into the streets, which is now, along with commuter trains and box cars, the most prevalent form of writing. Many graffiti artists, however, chose to see the new problems as a challenge rather than a reason to quit. A downside to these challenges was that the artists became very territorial of good writing spots, and strength and unity in numbers became increasingly important. This was probably the most violent era in graffiti history -- Artists who chose to go out alone were often beaten and robbed of their supplies. Some of the mentionable graffiti artists from this era were Blade, Dondi, Seen and Skeme. This was stated to be the end for the casual NYC subway graffiti artists, and the years to follow would be populated by only what some consider the most "die hard" artists. People often found that making graffiti around their local areas was an easy way to get caught so they traveled to different areas. The years between 1985 and 1989 became known as the "die hard" era. A last shot for the graffiti artists of this time was in the form of subway cars destined for the scrap yard. With the increased security, the culture had taken a step back. The previous elaborate "burners" on the outside of cars were now marred with simplistic marker tags which often soaked through the paint. By mid-1986 the MTA and the CTA were winning their "war on graffiti," and the population of active graffiti artists diminished. As the population of artists lowered so did the violence associated with graffiti crews and "bombing." Roof tops also were being the new billboards for some 80's writers. Some notable graffiti artists of this era were Cope2, Zephyr, Sane Smith, and T-Kid The current era in graffiti is characterized by a majority of graffiti artists moving from subway or train cars to "street galleries." The Clean Train Movement started in May, 1989, when New York attempted to remove all of the subway cars found with graffiti on them out of the transit system. Because of this, many graffiti artists had to resort to new ways to express themselves. Much controversy arose among the streets debating whether graffiti should be considered an actual form of art. During this period many graffiti artists had taken to displaying their works in galleries and owning their own studios. This practice started in the early 1980s with artists such as Jean-Michel Basquiat, who started out tagging locations with his signature SAMO (Same Old Shit), and Keith Haring, who was also able to take his art into studio spaces. In some cases, graffiti artists had achieved such elaborate graffiti (especially those done in memory of a deceased person) on storefront gates that shopkeepers have hesitated to cover them up. In the Bronx after the death of rapper Big Pun, several murals dedicated to his life appeared virtually overnight;[14] similar outpourings occurred after the deaths of The Notorious B.I.G., Tupac Shakur, Big L, and Jam Master Jay. Princess Diana and Mother Teresa were also memorialised this way in New York City. (Less)
Graffiti Old SKooL Trains
PLEASE RATE AND COMMENT The late 1970s and early 1980s brought a new wave of creativity to the (More) PLEASE RATE AND COMMENT The late 1970s and early 1980s brought a new wave of creativity to the scene. As the influence of graffiti grew, beyond the Bronx, a graffiti movement begun by encouragement by Friendly Freddie. Fab 5 Freddy (Fred Brathwaite) is another popular graffiti figure of this time, often credited with helping to spread the influence of graffiti and rap music beyond its early foundations in the Bronx. It was also, however, the last wave of true bombing before the Transit Authority made graffiti eradication a priority. The MTA (Metro Transit Authority) began to repair yard fences, and remove graffiti consistently, battling the surge of graffiti artists. With the MTA combating the artists by removing their work it often led many artists to quit in frustration, as their work was constantly being removed. It was also around this time that the established art world started becoming receptive to the graffiti culture for the first time since Hugo Martinez's Razor Gallery in the early 1970s. Just as the culture was spreading outside New York and overseas, the cultural aspect of graffiti in New York was said to be deteriorating almost to the point of extinction. The rapid decline in writing was due to several factors. The streets became more dangerous due to the burgeoning crack epidemic, legislation was underway to make penalties for graffiti artists more severe, and restrictions on paint sale and display made racking (stealing) materials difficult. Above all, the MTA greatly increased their anti-graffiti budget. Many favored painting sites became heavily guarded, yards were patrolled, newer and better fences were erected, and buffing of pieces was strong, heavy, and consistent. As a result of subways being harder to paint, more writers went into the streets, which is now, along with commuter trains and box cars, the most prevalent form of writing. Many graffiti artists, however, chose to see the new problems as a challenge rather than a reason to quit. A downside to these challenges was that the artists became very territorial of good writing spots, and strength and unity in numbers became increasingly important. This was probably the most violent era in graffiti history -- Artists who chose to go out alone were often beaten and robbed of their supplies. Some of the mentionable graffiti artists from this era were Blade, Dondi, Seen and Skeme. This was stated to be the end for the casual NYC subway graffiti artists, and the years to follow would be populated by only what some consider the most "die hard" artists. People often found that making graffiti around their local areas was an easy way to get caught so they traveled to different areas. The years between 1985 and 1989 became known as the "die hard" era. A last shot for the graffiti artists of this time was in the form of subway cars destined for the scrap yard. With the increased security, the culture had taken a step back. The previous elaborate "burners" on the outside of cars were now marred with simplistic marker tags which often soaked through the paint. By mid-1986 the MTA and the CTA were winning their "war on graffiti," and the population of active graffiti artists diminished. As the population of artists lowered so did the violence associated with graffiti crews and "bombing." Roof tops also were being the new billboards for some 80's writers. Some notable graffiti artists of this era were Cope2, Zephyr, Sane Smith, and T-Kid The current era in graffiti is characterized by a majority of graffiti artists moving from subway or train cars to "street galleries." The Clean Train Movement started in May, 1989, when New York attempted to remove all of the subway cars found with graffiti on them out of the transit system. Because of this, many graffiti artists had to resort to new ways to express themselves. Much controversy arose among the streets debating whether graffiti should be considered an actual form of art. During this period many graffiti artists had taken to displaying their works in galleries and owning their own studios. This practice started in the early 1980s with artists such as Jean-Michel Basquiat, who started out tagging locations with his signature SAMO (Same Old Shit), and Keith Haring, who was also able to take his art into studio spaces. In some cases, graffiti artists had achieved such elaborate graffiti (especially those done in memory of a deceased person) on storefront gates that shopkeepers have hesitated to cover them up. In the Bronx after the death of rapper Big Pun, several murals dedicated to his life appeared virtually overnight; similar outpourings occurred after the deaths of The Notorious B.I.G., Tupac Shakur, Big L, and Jam Master Jay. Princess Diana and Mother Teresa were also memorialised this way in New York City. (Less)
Graffiti Fuk Crew-Velo,Fers,Cano,Plug PLEASE RATE AND COMMENT Graffiti Fuk Crew-Velo,Fers,Cano,Plug The late 1970s and early 1980s (More) PLEASE RATE AND COMMENT Graffiti Fuk Crew-Velo,Fers,Cano,Plug The late 1970s and early 1980s brought a new wave of creativity to the scene. As the influence of graffiti grew, beyond the Bronx, a graffiti movement begun by encouragement by Friendly Freddie. Fab 5 Freddy (Fred Brathwaite) is another popular graffiti figure of this time, often credited with helping to spread the influence of graffiti and rap music beyond its early foundations in the Bronx. It was also, however, the last wave of true bombing before the Transit Authority made graffiti eradication a priority. The MTA (Metro Transit Authority) began to repair yard fences, and remove graffiti consistently, battling the surge of graffiti artists. With the MTA combating the artists by removing their work it often led many artists to quit in frustration, as their work was constantly being removed. It was also around this time that the established art world started becoming receptive to the graffiti culture for the first time since Hugo Martinez's Razor Gallery in the early 1970s. Just as the culture was spreading outside New York and overseas, the cultural aspect of graffiti in New York was said to be deteriorating almost to the point of extinction. The rapid decline in writing was due to several factors. The streets became more dangerous due to the burgeoning crack epidemic, legislation was underway to make penalties for graffiti artists more severe, and restrictions on paint sale and display made racking (stealing) materials difficult. Above all, the MTA greatly increased their anti-graffiti budget. Many favored painting sites became heavily guarded, yards were patrolled, newer and better fences were erected, and buffing of pieces was strong, heavy, and consistent. As a result of subways being harder to paint, more writers went into the streets, which is now, along with commuter trains and box cars, the most prevalent form of writing. Many graffiti artists, however, chose to see the new problems as a challenge rather than a reason to quit. A downside to these challenges was that the artists became very territorial of good writing spots, and strength and unity in numbers became increasingly important. This was probably the most violent era in graffiti history -- Artists who chose to go out alone were often beaten and robbed of their supplies. Some of the mentionable graffiti artists from this era were Blade, Dondi, Seen and Skeme. This was stated to be the end for the casual NYC subway graffiti artists, and the years to follow would be populated by only what some consider the most "die hard" artists. People often found that making graffiti around their local areas was an easy way to get caught so they traveled to different areas. The years between 1985 and 1989 became known as the "die hard" era. A last shot for the graffiti artists of this time was in the form of subway cars destined for the scrap yard. With the increased security, the culture had taken a step back. The previous elaborate "burners" on the outside of cars were now marred with simplistic marker tags which often soaked through the paint. By mid-1986 the MTA and the CTA were winning their "war on graffiti," and the population of active graffiti artists diminished. As the population of artists lowered so did the violence associated with graffiti crews and "bombing." Roof tops also were being the new billboards for some 80's writers. Some notable graffiti artists of this era were Cope2, Zephyr, Sane Smith, and T-Kid The current era in graffiti is characterized by a majority of graffiti artists moving from subway or train cars to "street galleries." The Clean Train Movement started in May, 1989, when New York attempted to remove all of the subway cars found with graffiti on them out of the transit system. Because of this, many graffiti artists had to resort to new ways to express themselves. Much controversy arose among the streets debating whether graffiti should be considered an actual form of art. During this period many graffiti artists had taken to displaying their works in galleries and owning their own studios. This practice started in the early 1980s with artists such as Jean-Michel Basquiat, who started out tagging locations with his signature SAMO (Same Old Shit), and Keith Haring, who was also able to take his art into studio spaces. In some cases, graffiti artists had achieved such elaborate graffiti (especially those done in memory of a deceased person) on storefront gates that shopkeepers have hesitated to cover them up. In the Bronx after the death of rapper Big Pun, several murals dedicated to his life appeared virtually overnight;[14] similar outpourings occurred after the deaths of The Notorious B.I.G., Tupac Shakur, Big L, and Jam Master Jay. Princess Diana and Mother Teresa were also memorialised this way in New York City. (Less)
Graffiti Old SKooL Trains PLEASE RATE AND COMMENT The late 1970s and early 1980s brought a new wave of creativity to the (More) PLEASE RATE AND COMMENT The late 1970s and early 1980s brought a new wave of creativity to the scene. As the influence of graffiti grew, beyond the Bronx, a graffiti movement begun by encouragement by Friendly Freddie. Fab 5 Freddy (Fred Brathwaite) is another popular graffiti figure of this time, often credited with helping to spread the influence of graffiti and rap music beyond its early foundations in the Bronx. It was also, however, the last wave of true bombing before the Transit Authority made graffiti eradication a priority. The MTA (Metro Transit Authority) began to repair yard fences, and remove graffiti consistently, battling the surge of graffiti artists. With the MTA combating the artists by removing their work it often led many artists to quit in frustration, as their work was constantly being removed. It was also around this time that the established art world started becoming receptive to the graffiti culture for the first time since Hugo Martinez's Razor Gallery in the early 1970s. Just as the culture was spreading outside New York and overseas, the cultural aspect of graffiti in New York was said to be deteriorating almost to the point of extinction. The rapid decline in writing was due to several factors. The streets became more dangerous due to the burgeoning crack epidemic, legislation was underway to make penalties for graffiti artists more severe, and restrictions on paint sale and display made racking (stealing) materials difficult. Above all, the MTA greatly increased their anti-graffiti budget. Many favored painting sites became heavily guarded, yards were patrolled, newer and better fences were erected, and buffing of pieces was strong, heavy, and consistent. As a result of subways being harder to paint, more writers went into the streets, which is now, along with commuter trains and box cars, the most prevalent form of writing. Many graffiti artists, however, chose to see the new problems as a challenge rather than a reason to quit. A downside to these challenges was that the artists became very territorial of good writing spots, and strength and unity in numbers became increasingly important. This was probably the most violent era in graffiti history -- Artists who chose to go out alone were often beaten and robbed of their supplies. Some of the mentionable graffiti artists from this era were Blade, Dondi, Seen and Skeme. This was stated to be the end for the casual NYC subway graffiti artists, and the years to follow would be populated by only what some consider the most "die hard" artists. People often found that making graffiti around their local areas was an easy way to get caught so they traveled to different areas. The years between 1985 and 1989 became known as the "die hard" era. A last shot for the graffiti artists of this time was in the form of subway cars destined for the scrap yard. With the increased security, the culture had taken a step back. The previous elaborate "burners" on the outside of cars were now marred with simplistic marker tags which often soaked through the paint. By mid-1986 the MTA and the CTA were winning their "war on graffiti," and the population of active graffiti artists diminished. As the population of artists lowered so did the violence associated with graffiti crews and "bombing." Roof tops also were being the new billboards for some 80's writers. Some notable graffiti artists of this era were Cope2, Zephyr, Sane Smith, and T-Kid The current era in graffiti is characterized by a majority of graffiti artists moving from subway or train cars to "street galleries." The Clean Train Movement started in May, 1989, when New York attempted to remove all of the subway cars found with graffiti on them out of the transit system. Because of this, many graffiti artists had to resort to new ways to express themselves. Much controversy arose among the streets debating whether graffiti should be considered an actual form of art. During this period many graffiti artists had taken to displaying their works in galleries and owning their own studios. This practice started in the early 1980s with artists such as Jean-Michel Basquiat, who started out tagging locations with his signature SAMO (Same Old Shit), and Keith Haring, who was also able to take his art into studio spaces. In some cases, graffiti artists had achieved such elaborate graffiti (especially those done in memory of a deceased person) on storefront gates that shopkeepers have hesitated to cover them up. In the Bronx after the death of rapper Big Pun, several murals dedicated to his life appeared virtually overnight; similar outpourings occurred after the deaths of The Notorious B.I.G., Tupac Shakur, Big L, and Jam Master Jay. Princess Diana and Mother Teresa were also memorialised this way in New York City. (Less)
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