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Graffiti in the United States
Graffiti in the United States are writing or drawings scribbled, scratched, or sprayed illicitly on a wall or other surface in a public place.〔(【引用サイトリンク】title=Graffiti )〕 Graffiti ranges from simple written words to elaborate wall paintings. Graffiti, consisting of the defacement of public spaces and buildings, remains a nuisance issue for cities. It also has had an international influence especially from the examples in the New York City Subway and the Chicana/Chicano experience.
==History==
In America around the late 1960s, graffiti was used as a form of expression by political activists, and also by gangs such as the Savage Skulls, La Familia, and Savage Nomads to mark territory. Towards the end of the 1960s, the signatures—''tags''—of Philadelphia graffiti writers Cornbread, Cool Earl and Topcat 126 started to appear.〔Peter Shapiro, ''Rough Guide to Hip Hop'', 2nd. ed., London: Rough Guides, 2007.〕 Cornbread is often cited as one of the earliest writer of modern graffiti.〔(Cornbread – Graffiti Legend )〕 Around 1970–71, the centre of graffiti innovation moved to New York City where writers following in the wake of TAKI 183, Tracy 168 and Phase 2 would add their street number to their nickname, "bomb" a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—"all city". Bubble lettering held sway initially among writers from the Bronx, though the elaborate writing Tracy 168 dubbed "wildstyle" would come to define the art.〔〔David Toop, ''Rap Attack'', 3rd ed., London: Serpent's Tail, 2000.〕 The early trendsetters were joined in the 70s by artists like Dondi, Zephyr and Lady Pink.〔
Graffiti is one of the four main elements of hip hop culture (along with rapping, DJing, and break dancing).〔Hager, Steven. Hip Hop: The Illustrated History of Break Dancing, Rap Music, and Graffiti. St Martin's Press, 1984 (out of print).〕 The relationship between graffiti and hip hop culture arises both from early graffiti artists practicing other aspects of hip hop, and its being practiced in areas where other elements of hip hop were evolving as art forms. By the mid-eighties, the form would move from the street to the art world. Jean-Michel Basquiat would abandon his SAMO tag for art galleries, and street art's connections to hip hop would loosen. Occasional hip hop paeans to graffiti could still be heard throughout the nineties, however, in tracks like the Artifacts' "Wrong Side of Da Tracks", Qwel's Brick Walls and Aesop Rock's "No Jumper Cables".〔
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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