Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. Beyond Walls Tour 2022 – Holyoke, Colorado. Via Tost Films 2. Beyond Walls Tour 2022 – Fall River, MA 3. Spray Daily: Fisheye Storys VOL. 1
BSA Special Feature: Beyond Walls Tour 2022 – Fall River, MA and Holyoke, Colorado
A public mural campaign franchise of sorts, the Beyond Walls Tour. Nearly a cottage industry by now, mural festivals are streamlined into mural programs across towns and cities to draw interest in and perhaps spur a local financial boom while delivering cultural impact. Here today is a look at Holyoke, Colorado, and Fall River, Massachusetts as part of Beyond Walls. In the case of the 6-year campaign in Fall River, Beyond Walls appears as part of a revitalization effort that partners with public and private funds and brings in educational components and community engagement – all aligning with a goal to strengthen and build a ”Cultural Economy Plan”. Of course, none of this is possible without the artists.
Tost Films gives you a sense of the environment on the streets as artists this summer brought solid skills and vision to their work here.
Beyond Walls Tour 2022 – Holyoke, Colorado. Via Tost Films
Beyond Walls Tour 2022 – Fall River, MA. Via Tost Films
Spray Daily: Fisheye Storys VOL. 1
Returning to the roots of this democratic people’s art movement that is largely free of commercial interests, we check with some graffiti writers making their own contribution to public space.
“It was always firmly hidden in a small forest,” Pener says of this wall he has been painting for the last 20 years. Like many graffiti artists who gravitate to abandoned margins of post-industrial landscapes, Pener’ discovered’ this wall and revisited it to paint, thinking it was unknown to many.
Bartek Pener Swiatecki. Light Up The Sky / 2022 / Olsztyn / Polska. (photo courtesy of the artist)
“Hardly anyone knew about her and visited her,” he says. “It was more like a private wall than a hall of fame.”
Now he has a larger audience. The property is now rehabilitated, and all that forest has been cleared. His new fiery composition rages with the summer heat, bringing to mind the fires that rage over parts of the earth this time of year. When winter’s severity keeps everyone inside again, and it will, Pener’s summer heat may appear as a dream.
The wall has opened up many possibilities for the street artist/studio artist. While he’s happy to exhibit his work here, you can tell he longs for the quiet solitude of his formerly secreted location. “Very interesting how its perception changes. It’s like a new opening,” he says. “I can’t get used to it all the time.”
Bartek Pener Swiatecki. Light Up The Sky / 2022 / Olsztyn / Polska. (photo courtesy of the artist)Bartek Pener Swiatecki. Light Up The Sky / 2022 / Olsztyn / Polska. (photo courtesy of the artist)Bartek Pener Swiatecki. Light Up The Sky / 2022 / Olsztyn / Polska. (photo courtesy of the artist)Bartek Pener Swiatecki. Light Up The Sky / 2022 / Olsztyn / Polska. (photo courtesy of the artist)
One may not know what name the Diagnostic and Statistical Manual of Mental Disorders (DSM-5) would give to Ben Frost’s obsession with pharmaceutical boxes. Indeed, there is surely a medication proscribed for something like this.
Ben Frost. Bart On Ritalin. Corey Helford Gallery. Los Angeles, CA. (photo courtesy of the gallery)
Frost’s view is a subversive and brightly provocative look of going off-brand if you will. “Super Mario flies high through a k-hole, Fred Flintstone and Grogu pass joints, and it’s revealed what kind of ‘power pills’ Pac-Man is really gobbling,” says the press release from the Melbourne-based street artist/studio artist.
Ben Frost. 50mg Thumper. Corey Helford Gallery. Los Angeles, CA. (photo courtesy of the gallery)
“Friends in High Places is both a satirical critique of consumer culture and a begrudging celebration of it,” says Frost. “Blurring the lines between the visceral and addictive experience of drug use with the seductive products of consumerism, the exhibition explores our love/hate relationship with these products and the characters who sell them to us.”
Opening at LA’s Corey Helford Gallery next week, the new exhibition closely follows another pop-inspired graphic artist, D*Face, whose skewering of commercial culture is perhaps more subconscious, tinged with sadness. That would require a slightly different diagnosis and prescription.
Ben Frost. Once Bitten. Corey Helford Gallery. Los Angeles, CA. (photo courtesy of the gallery)Ben Frost. Piggy Channel. Corey Helford Gallery. Los Angeles, CA. (photo courtesy of the gallery)Ben Frost. Mc Chungus. Corey Helford Gallery. Los Angeles, CA. (photo courtesy of the gallery)Ben Frost. Super K Mario. Corey Helford Gallery. Los Angeles, CA. (photo courtesy of the gallery)
Ben Frost. Friends in High Places, opening at Los Angeles’ Corey Helford Gallery(CHG) on Saturday, September 17th. Los Angeles, CA.
One of the exciting book releases this fall drops today in stores across the country – which is appropriate with a name like Spray Nation.
Martha Cooper. SPRAY NATION 1980s Graffiti Photographs. Edited by Roger Gastman. Prestel. Germany, 2022.
The centerpiece of the complete boxed set released this spring, this thick brick of graffiti tricks will end up on as many shelves as Subway Art; the book of Genesis that prepared everyone for the global scene of graffiti and street art that would unveil itself for decades afterward. See our review from earlier in the year, and sample some of the stunning spreads here, along with quotes by the book’s essay writers, Roger Gastman, Steven P. Harrington, Miss Rosen, Jayson Edlin, and Brian Wallis.
“Culled from thousands of her Kodachrome slides from the early 1980s, the celebrated photographer and ethnologist worked with American graffiti historian Roger Gastman over many months during the initial Covid period to select this rich collection of images of tags, walls, and pieces. Each turn of the page more profoundly deepens your understanding of the graffiti-writing culture Cooper captured with Henry Chalfant in their book Subway Art nearly forty years ago. That clarion call to a worldwide audience took years to reverberate and shake culture everywhere. With time that book became the standard root documentation for what many see as the largest global democratic people’s art movement in history.”
“To create Spray Nation, Cooper, and editor Roger Gastman pored through hundreds of thousands of 35mm Kodachrome slides, painstakingly selecting and digitizing them. The photos range from obscure tags to portraits, action shots, walls, and painted subway cars. They are accompanied by heartfelt essays celebrating Cooper’s drive, spirit, and singular vision. The images capture a gritty New York era that is gone forever.”
~ Prestel Publishing
“Martha’s photos have backed up graffiti writers’ tall tales more times than I can count. They’re like this crazy high school yearbook. As a result, Cooper is who every graffiti writer, fan, collector, and researcher wants to come and see. Most of them have not had the privilege of going to her studio and seeing the great amount of work she has amassed over the years – it’s truly awe inspiring. But every so often she pulls out yet another gem where we all scratch our heads and think, “Oh shit, what else is Martha holding?”
Roger Gastman, from the Foreward of Spray Nation
“‘If you want to publish your work, you cannot be ahead of or behind your time,’ she says as she reflects on an impeccable sense for capturing the birth of scenes like graffiti, hip-hop, and b-boying. ‘I was lucky to be at the right place and time.’”
“Martha is heralded today for capturing those trains and scenes along with Henry Chalfant in the seminal graffiti holy book Subwav Art, but few appreciate how painfully ahead of their time they were at that point.”
~ Steven P. Harrington, from Who is Martha Cooper?
“With a single snap of the shutter, Martha Cooper captured the searing rush of seeing a whole car make its debut on the line after being painted all night. You can all but hear the train thunder along the tracks and feel the ground rumble beneath your feet while a gust of wind hits your face. Is that the smell of spray paint?”
~ Miss Rosen, from Better Living Through Graffiti
“Martha took pictures of painted trains and b-boys because few bothered to at that time. Once people caught on, she considered her task completed. Martha followed the paint trail as it rose above ground. QUiK and IZ on the streets with Scharf and Hambleton. Madonna clubbing with Basquiat, Patti Astor with DONDI and FAB 5 FREDDY. Subway graffiti gradually died, street art rising from its ashes. Disinterest, drugs and AIDS decimated NYC’s cultural apex, its brightest stars perishing before their work hit the seven-figure mark – lives as ephemeral as our pieces on the train. These fleeting moments of births, peaks, and deaths live in perpetuity thanks to the foresight of Martha Cooper and a handful of others who tracked cool’s scent like underground bloodhounds.”
Jayson Edlin, from Peter Pan Haircut
“In a sense, Cooper’s photography picks up on the New Documentary approach of the early 1970s, in which independent photographers such as Larry Clark, Susan Meiselas, Jill Freedman, Mary Ellen Mark, and Danny Lyon recorded insider’s views of various closed societies of outsiders, social groups and “others” shoved aside by postwar American society in thrall to consumerism. The alienated drug users, prisoners, bikers, and prostitutes that those photographers lived among and depicted were largely invisible and had been further marginalized in America by class, race and gender prejudices. In a similar vein, Cooper sought to expose and legitimize the young subway writers as earnest and mildly rebellious artists with a purpose and a rational aesthetic agenda, rather than as the lawless urban vandals the police and the media sought to represent.”
~ Brian Wallis, from Graffiti As The People’s Art Form
Martha Cooper. SPRAY NATION 1980s Graffiti Photographs. Edited by Roger Gastman. Prestel. Germany, 2022.
Famed graffiti writer REVS detailed many an illegal ‘mission’ in his first self-published opus – the caveat is you needed to go underground in the New York subway tunnels to read about them. That was a few decades ago but even today when certain train lines are stalled between stations, which happens less frequently than it did in the ragged wild 1970-80s when many New York graffiti writers like REVS began, passengers can look out the window and read a portion of a diary entry. Over time people searching for these works discovered that this artist turned out to be a writer in more than one sense with his self-aware observations, opinions, memories, and aspirations inscribed in a personal/public voice along darkened subterranean passageways. Prolific and determined, he is credited with eventually some 230+ entries on walls that appeared during the late 1990s and early 2000s. Each are now a series of moments frozen in time, receding into New York and graffiti history.
REVS, XSOUP & ARBOR. “Life’s a Mission…Then You’re Dead”
Today the writer expands his reach, compiling with XSOUP and ARBOR the stories of many graffiti writers into a bound volume that will become an instant classic in the largely anonymous and underground realm of practitioners as well as with the growing cadre of researchers, academics and historians studying graffiti/street art/urban art today. With this new passion effort by REVS and a small team, these stories are preserved and documented, ensuring a greater understanding and appreciation for the interconnected/alienated paradox of the graffiti writer’s life and practice.
‘We preserved each individual’s truths, opinions, exuberance, pride, joy, and grudges in an effort to depict the gritty complexities of this scene we inhabit.’
Author and REVS documentarian Freddy Alva below tells us about the upcoming small-run book release that has become a hot ticket for the New York graff (and street art) scene this week.
There’s a book release in Brooklyn on Saturday, September 10, celebrating ‘Life’s A Mission Then You’re Dead’; a comprehensive 510 pages book of blood, sweat & tears-soaked stories by 100 NYC Graffiti writers. REVS and XSOUP, with help from ARBOR, compiled this loving insiders’ oral history of an idiosyncratic street culture that few are privy to.
From the introduction: ‘The history of writing, style writing, or graffiti, is brief but nebulous. Generations turn over every couple of years, scattered across the city’s many neighborhoods and extending to most places on earth. The histories of these small, fluctuating groups are mostly recorded in memory and recounted through word of mouth—some to larger audiences and some reaching only a select few. Outsiders curious about writing have been responsible for much of its documentation… The voices of many writers could together offer a more intricate, nuanced view of the world of writing… We preserved each individual’s truths, opinions, exuberance, pride, joy, and grudges in an effort to depict the gritty complexities of this scene we inhabit.’
Each cover is individually drawn by REVS with images by NYC street photographer Matt Weber aka MALTA. Book design is by Eric Wrenn with editorial assistance by Polly Watson. This is a self-published endeavor with no online link to order at the moment, limit one copy per customer and cash only at the release event 11-6pm on September 10 at: Low Brow, 321 Starr St Brooklyn, NY 11237
It’s September! Or Septembeer, if you like. Followed by Octobeer, Novembeer….you get the joke.
As we slide into New York’s fall arts openings, shows, events, parties — we’re still blown away by the incredible works that are on the streets. Right?
Here’s our weekly interview with the street, this week featuring: No Sleep, Adam Dare, Werds, You Are Beautiful, Melski, George Collagi, Combo CK, Hek Tad, and Yo Like George.
Street art continues to move to small towns and cities, expressing itself in various manners. The 7th edition of the Cheste Street Art Festival (Graffitea Cheste) is a perfect example of how dispersed the scene has become as it intertwines with murals. The result is a more sophisticated survey of art movements than most towns would ever see, including those with museums.
The town of Cheste (Xest in Valencian) is in the province of Valencia, and its nearly 9,000 inhabitants are traditionally involved with agriculture, with an emphasis on wine. Sponsored by the city, a few brands, foundations, and art institutions, you won’t find many politically challenging themes, but the scale and quality of work can be appreciable.
One small series of five paintings of particular note are the blurred video versions (if you will) of interpretations of works painted at the turn of the previous century by the Spanish Valencian painter Joaquín Sorolla. With roots in graffiti and street art, the artist Salvaje Selva is a painting teacher in Madrid. Frequently he also paints with Kako Selva on collaborative murals under the moniker Gesto. Selva says these new murals are “in homage to the great master” on his Instagram page.
“It has been a real pleasure to be able to work based on the work of this great painter, who has inspired me to interpret freely and let myself go,” he says. “In addition, studying from painting and practice is always very grateful. It gives you a deeper insight into the work of artists. Within this dialogue, I wanted to include the relationship with the support and leave part of the voice of the wall itself.”
The degree of community involvement for Graffitea Cheste is substantial and sincere with tours, symposia, and educational programming. By the end of the June festival this year, there were 13 more murals added to the extensive collection. The celebration closed with a flourish and a screening of the documentary about the great Valencian illustrator José Segrelles.
We thank photographer Lluis Olive Bulbena for sharing his discoveries with BSA readers.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. Do Not Feed the Pigeons, Antonin Niclass’s short film 2. Pigeon Fanciers in Brooklyn set to Chopin’s One Minute Waltz. Video by Jaime Rojo 3. Playing with pigeons on the sidewalks of Manhattan. Video by Jaime Rojo 4. Duke Riley performance with pigeons of “Fly By Night” in Brooklyn Navy Yard, 2016. Video by Jaime Rojo
BSA Special Feature: For Your Consideration; Pigeons
We dedicate today’s edition of BSA Film Friday to the pigeons of the world, with a mix of film and still photography. The first offering is Antonin Niclass’s short film “Do Not Feed the Pigeons,” wherein a flock becomes a source of unexpected wonder for a group of weary travelers. Extra points for sound editing on this one. After the film we have the visual poetry of BSA’s own Jaime Rojo in short video and photography. Enjoy it.
Do Not Feed the Pigeons: A Moment of Magic, Courtesy of Pigeons / Via The New Yorker
Today we have part two of our coverage of the MEMUR Festival in Oldenburg, Germany. More than 30 regional and international artists painted a 280-meter-long wall of the railway elevation on the Oldenburg federal railway path – street artists on one side, graffiti artists on the other. In addition to the aerosol action, there was a photo exhibition featuring our featured documentarians, Martha Cooper and Nika Kramer, film screenings, photography and art workshops, and an educational program in cooperation with the Oldenburg City Museum and the Oldenburg Prevention Council.
Organizers say they needed 500 liters of wall paint just to prime the walls, and probably 1000 spray cans were used during the 3-day event. The 3D style is ruling the moment, but you can see bubble style and semi-wildstyle, some neofuturism, – as well as introductions of characters and brief fictional scenarios. Most importantly, most of the pieces get ample space to breathe and to stand on their own.
From environmental nightmares to the corporate war machine to social solidarity to identity politics to abortion to the isolation brought on by Covid, the muralists at the MEMUR Festival in Oldenburg, Germany are not muting their serious concerns about the modern world.
For being the inaugural episode of a festival, you have to be impressed with it on many levels. First is the selection high-quality international and national artists from both the street art and graffiti world. Secondly, organizers devised an equitable solution for these two distinct, yet entirely related, subcultures to participate fully on the walls of their fair city – with respect for all. Finally, the true rebellious spirit of this organically grown and democratic global people’s art movement was preserved by encouraging artists to select a modern-day societal ill and address it with their work.
It’s refreshing to experience a themed public exhibition like this that has not been censored by commercial interests but that endeavors to speak openly with its artworks about potentially difficult subjects to address the everyday passerby. “Street art has always been a means to criticize, reflect, and question,” says an online description of the scenes’ nascent beginnings, and that couldn’t be more true from our perspective. MEMUR 2022 calls it ‘Evolution of a Revolution,’ and since there is a widespread notion across developed world countries that leaders are not representing citizens anymore, you can imagine that these works may get people talking together and realizing that we are not polarized left-right, but top-bottom.
Today we’ll show you images from the street art muralists’ walls on one side of the 280-meter-long wall of the railway elevation on the Oldenburg federal railway path, and tomorrow we’ll show you the ‘Wall of Fame’ created on the other side by a stunning array of graffiti writers. In both cases, we extend our heartfelt thanks to two of the main participants in the event, photographers Martha Cooper of New York and hometown superstar/international photographer Nikka Kramer. Thanks to both for sharing their images with BSA readers.
Bulgarian muralists Arsek & Erase may have chosen one of the hottest current topics to address in their mural; the fear of hyperinflation and the severe damage it can do to individuals. The illustration-style painting features a vicious snake enveloping a jar of “savings”, preparing to consume it whole. Here in Oldenburg, where German inflation rose to its highest level in almost 50 years in August (8.8%), people are familiar with the topic. In their hometown of Sofia, Aresek & Erase are experiencing a 17% rate of inflation as of last month. Technically the term “hyperinflation” is somewhere above 50%, and 60 or so countries have fallen into it in the last hundred years, including Argentina today, and rather famously, the Weimar Republic (of which Oldenburg was a federated state) exactly 100 years ago, from 1921-23.
Suffice it to say that today many of the world’s currencies are in danger of inflationary pressures, including the dollar and Euro. There was talk amongst participants and organizers of MEMUR that the costs of the festival itself had to be recalibrated a few times because of increased costs in lodging, transportation, labor, and art materials.
“Thanks to everyone who came despite the heat to watch the artists paint, participate in the graffiti workshops and try their luck at the raffle,” said the organizers in their Instagram posting.
“All the positive feedback on the festival and the exhibition “Evolution of a Revolution” in the Kulturhalle am Pferdemarkt has only strengthened our belief that Oldenburg is ready for street art and that we definitely want to continue!’
You may think of that unelected global body called the World Economic Forum when you see the word, “Reset” today.
Leon Keer. Reset. Assisted by Massina. We.Create Art Mural Festival. Sand City. Monterey, CA. (photo courtesy of Leon Keer)
The buzzworthy term is bandied about so often today that you could be forgiven for thinking about the death of cash, programmable CBDC currency, streaming surveillance, and social credit systems. The would-be a major reset, wouldn’t it?
For anamorphic street artist Leon Keer participating at the We.mural festival in Sand City, California, his mind travels to someplace perhaps less sinister. He just knows that we appear as a global society to be going in the wrong direction in so many ways.
Leon Keer. Reset. Assisted by Massina. We.Create Art Mural Festival. Sand City. Monterey, CA. (photo courtesy of Leon Keer)
“This reset button may not be big enough,” he says. “For me, it is not about everyone’s personal situation, but a reset to a different way of dealing with each other and with how we deal with the world.”
Keer, along with artist Massina, completed this astounding perspective-bending feat right on the street. But you have to be in just the right spot to appreciate it.
Leon Keer. Reset. Assisted by Massina. We.Create Art Mural Festival. Sand City. Monterey, CA. (photo courtesy of Leon Keer)
Title: Reset Where: Sand City – Monterey Bay California Size: 59 ft x 13 ft Material: Acrylics on asphalt
Artwork made with help of Massina. Festival: We.Create Art mural festival with the support of Sand City Art Commitee and the Sand City Council
Leon Keer. Reset. Assisted by Massina. We.Mural Festival. San City. Monterey, CA. (photo courtesy of Leon Keer)Leon Keer. Reset. Assisted by Massina. We.Mural Festival. San City. Monterey, CA. (photo courtesy of Leon Keer)Leon Keer. Reset. Assisted by Massina. We.Mural Festival. San City. Monterey, CA. (photo courtesy of Leon Keer)Leon Keer. Reset. Assisted by Massina. We.Mural Festival. San City. Monterey, CA. (photo courtesy of Leon Keer)Leon Keer. Reset. Assisted by Massina. We.Mural Festival. San City. Monterey, CA. (photo courtesy of Leon Keer)
West Hollywood, California has undergone constant change since long before the Internet of Everything, and it is about to reinvent part of itself again on Holloway and Sunset with the brand new Nomad Gallery and its premiere exhibition by artist Rabi (b. 1984 David Emanuel Mordechai Torres).
Rabi. _gen+esc (generation+escape. Nomad Gallery. West Hollywood, CA. (photo courtesy of the gallery)
And who better to contemplate the complexity of the modern world?
“There are images that come together as a whole, but the main idea is that the look of the piece is constantly changing, in the same way that life is constantly evolving,” he said to us in an interview 10 years ago this fall when he was still part of the art collective CYRCLE – echoing a perspective he carries today.
Rabi. _gen+esc (generation+escape. Nomad Gallery. West Hollywood, CA. (photo courtesy of the gallery)
As Millennials are being edged out of that desired youthful demographic by the next generation of consumers, there appears to be a reckoning with the loss of citizenry, civility, privacy, the regard for pillars that once provided strong institutions; On a personal level the meaning of existence may still be clouded by perceptions about life that were filtered through the ever-present smartphone, and warped by developing technologies. With the metaphor of the firehouse, many describe a flow of data so overwhelming and confusing that, if unedited or uncontrolled can breed a semi-permanent state of confusion. A show like this countenances that reality and suggests that one can at least begin to make storylines with it.
Rabi. _gen+esc (generation+escape. Nomad Gallery. West Hollywood, CA. (photo courtesy of the gallery)
It’s a crisis for many. When we used our community-based art project called BSA to bring you the CYRCLE project over a decade ago – it was a collaborative of three artists, then two, then one. Maybe it is simply young people discovering their own voices. But looking at people sitting at restaurant dinner tables staring at their phones, one may wonder if this generation is separating into individual molecules, feeling disconnected by their digital experiences, rather than grounded by them?
It is an irony that the ‘Me’ generation of the 70s and 80s appear to not have anticipated this, so self-actualized were they. It is as if the last 20 years drank a cocktail of steroids and MDMA; seduced by the endorphin explosions in brains fried by social platforms. Increasingly targeted content meant that “individuality” and individually tailored preference took firm root, and grew; on music videos, in gaming, at Cosplay conventions, at awards shows and even New York’s Met Ball. The coveted 18-34 age group were courted with greater precision than ever; a beguiling romance with self-expression became weaponized, an arms race of stunning individuality, brandished with “authenticity”.
Rabi. _gen+esc (generation+escape. Nomad Gallery. West Hollywood, CA. (photo courtesy of the gallery)
Powered by a strange identity-based militarism that allies with all things good, and its now nearly a constitutional birthright to be uniquely amazing. Any remaining norms of yesteryear are eschewed, melting away like a polar ice cap, in pursuit of the new normal. “Group individuality”; the Metaverse will allow you to be a human, animal, or a coconut cookie. It’s American exceptionalism writ global, and perhaps Rabi is encouraging you to be brave for this new world that is so boldly ushering itself in, blinkering on and off and flooding/tracking your eyes with images, your ears with sound, your heart with envy, fear, lust, relief, or release. Or you may opt to hit the escape button.
“As isolation moved us apart, we retreated deeper into our digital nativity, highlighting our society’s obsession with self-image and the ironically ubiquitous bid for individuality,” says creator and director Rabi. He calls his exhibition “_gen+esc”, an abbreviation of “generation escape”. He’s pushing into video and featuring actors in greenscreen jumpsuits – a jarringly effective yet lo-fi technique that posits a view on internal life, including the storms raging there.
Rabi. _gen+esc (generation+escape. Nomad Gallery. West Hollywood, CA. (photo courtesy of the gallery)
Does Rabi push outside the parameters in this newest exploration? It is described as “a series of short art films that explores the relationship between identity and the artistic process.”
You’ll decide when it opens on September 15. Or stay home, stage selfies, apply filters, and scroll.
Rabi: _gen+esc. Nomad Gallery. West Hollywood, CA. Thursday, September 15, 2022, at 8 pm. Click HERE for further information.
Elfo is a graffiti writer and social commentator whose work intentionally sidesteps traditional notions of style or technical lettering. This …Read More »
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
