Search full image library
Enter words, names or reference numbers. This opens Alamy results in a new tab.
Other languages and quick categories
Search HotpixUK images in Spanish, French, German, Italian, or English. Use the dropdown for shortcuts.
Search Graffiti in other languages
Search All in French
FR Graffiti,
Search All German
DE Graffiti,
Search All Italian
IT Graffiti,
Search All Spanish
ES Graffiti,
Back to all images preview
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A9729,DART train and urban art,DART,Dublin,street art,urban mural,graffiti,Iarnród Éireann,Irish Rail,electric train,commuter rail,railway wall,public art,urban art,Dublin Area Rapid Transit,railway,city transport,public transport,colourful mural,graffiti art,Ireland,urban landscape,rail corridor,commuters,electric railway,city culture,wall painting,Dublin street art,transport,suburban railway,contemporary art
Description: Tony Smith image Alamy 3FGH3X8 - . A DART electric train passes a wall covered with colourful murals and graffiti in Dublin, bringing two highly visible elements of the contemporary city into the same railway scene. The Dublin Area Rapid Transit network has carried commuters through the capital since electric services began in 1984, using a north-south rail corridor that cuts through neighbourhoods with very different architecture, land uses and social histories. Railway boundaries, arches, retaining walls and industrial buildings often provide large surfaces for both commissioned street art and unofficial graffiti, making rail journeys an evolving gallery of urban visual culture. The work visible here includes large lettering, figurative imagery and layered tags, suggesting a wall that has accumulated different interventions over time. DART trains are themselves moving pieces of the cityscape, their familiar green livery appearing repeatedly behind housing, businesses, bridges and public art as they travel through Dublin. Street art can transform neglected or defensive infrastructure by adding colour and local character, although distinctions between legal murals, commissioned pieces and unauthorised graffiti remain important to property owners and councils. The railway setting also affects how the artwork is seen: passengers may encounter it only for seconds from a moving train, while pedestrians experience the wall at street level. Dublin has developed a substantial street-art scene alongside its more formal cultural institutions, with murals increasingly used for regeneration, business promotion, political expression and community projects. The juxtaposition with DART emphasises a city constantly moving past surfaces that are themselves repeatedly repainted and reinterpreted. Rail corridors are particularly valuable documentary locations because they preserve layers of advertising, industrial history, informal art and infrastructure within a narrow strip of urban land.
Dublin, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Rombo graffiti,Pink Panther graffiti,Thelwall street art,graffiti character,concrete wall art,urban art,cartoon graffiti,Rombo,graffiti,art,Pink,Panther,style,Thelwall,Warrington,concrete wall,urban,Cheshire,804img,colourful,panther-style,character,tag,painted,concrete,wall,mural,culture,space,local history
Description: Tony Smith image Alamy 3FE951K - . A colourful cartoon-like pink character with large yellow eyes and the tag Rombo is painted on concrete, an example of informal urban graffiti and street art in Thelwall. The brightly painted pink cartoon figure resembles the Pink Panther but is an unauthorised graffiti interpretation, signed with the tag 'Rombo'. Graffiti often mixes borrowed popular-culture imagery with an individual writer's tag, creating work that is instantly familiar yet locally specific. On concrete infrastructure in Thelwall, the paint also contrasts with a utilitarian surface that was never intended as an art space. Such informal street art is temporary by nature: it may be overpainted, cleaned, weather away or be replaced by later tags. The surviving paint fixes a particular moment in the constantly changing layer of unofficial visual culture found on walls, bridges and service structures around British towns. The tag beside the character is crucial documentary detail because it identifies the local writer or chosen name even though the cartoon source is borrowed from a global entertainment franchise. The Pink Panther was created for the animated title sequence of the 1963 film and became a globally recognised cartoon figure through later shorts and television. Graffiti writers frequently borrow mass-media characters because they are instantly legible, then alter them through colour, placement and tags to claim a local identity. Here the 'Rombo' tag is as important as the pink character: it identifies the intervention as part of an individual writer's visual language rather than authorised commercial illustration. Painted on plain concrete in Thelwall, the work sits outside a formal gallery and may be temporary, overpainted or weathered. That ephemerality gives street-art photographs documentary importance while also raising the familiar distinction between unsanctioned graffiti, public art and cultural appropriation of copyrighted imagery.
Thelwall, Warrington, Cheshire, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,IMG,Russian,Embassy,Tallinn,Estonia,Ukraine,protest,anti,war,Navalny,memorial,Putin,Russia,invasion,Baltic,state,demonstrations,solidarity,posters,graffiti,old,town,editorial,documentary,2026,British,Britain,Europe,travel,local,community,signage
Description: Tony Smith image Alamy 3FCG3HY - . A panoramic view outside the Russian Embassy in Tallinn records the dense layer of anti-war posters, flags, photographs, messages and improvised memorial material that has accumulated around the diplomatic building since Russia's invasion of Ukraine. Estonia restored its independence from Soviet occupation in 1991 and its security politics are profoundly shaped by that history, its border with Russia and a sizeable Russian-speaking minority. The embassy in Tallinn's medieval Old Town has consequently become a highly visible focus for protest against Vladimir Putin's government, the war in Ukraine and repression inside Russia. After opposition leader Alexei Navalny died in a Russian penal colony in 2024, his image and name also became part of protests and memorials at Russian diplomatic sites across Europe. The photograph captures how a formal embassy frontage can be transformed by public dissent into an unofficial wall of testimony. It is relevant to Baltic politics, NATO's eastern flank, Ukraine solidarity, human rights, Russian opposition, diplomatic relations and contested historical memory. The view is also relevant to the growing importance of place-based journalism, where national trends are explained through local examples. Relevant search and editorial concepts include Ukraine, Ukrainian, Manchester, solidarity, independence, blue and yellow, peace, protest, diaspora, Russia invasion, Europe, freedom, public demonstration, civic square. Useful descriptive vocabulary for archive discovery includes Russian, Embassy, Tallinn, Estonia, Ukraine, protest, anti, war, Navalny, memorial, Putin, Russia, invasion, Baltic, state, embassy, demonstrations, solidarity, posters, graffiti, old, town. The image may be useful to picture editors seeking authentic North West or British context for features on community life, economic change, heritage, services and the evolving built environment.
Russian Embassy, Pikk Street, Tallinn Old Town, Tallinn, Estonia
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A0068,London,Brick,Lane,Earn,graffiti,street,art,lettering,East,EARN graffiti,Brick Lane graffiti,Brick Lane street art,graffiti lettering,urban graffiti,street art London,Brick Lane,East London,wall graffiti,lettering art,spray paint,urban art,street culture,Spitalfields,Tower Hamlets,East End London,graffiti tag,large letters,public wall,contemporary street art,creative quarter,urban expression,illegal graffiti,public realm,city wall,London graffiti,street photography,visual culture,art and vandalism,urban texture,painted wall,graffiti culture,creative London,youth culture,counterculture,temporary art,East End street
Description: Tony Smith image Alamy 3E30281 - . Large graffiti lettering spelling 'EARN' on a wall in Brick Lane, east London, part of the dense and constantly changing street-art environment for which the district is internationally known. The piece relies on scale, outline and bold block letters rather than figurative imagery, demonstrating the central importance of lettering within graffiti culture. Names, words and letterforms have been fundamental to graffiti since the development of modern tagging and spray-can styles, with writers using repetition and visual distinctiveness to establish identity in public space. Brick Lane offers an unusually visible setting for this practice because walls, shutters, yards and temporary surfaces are already covered with murals, tags, stencils, stickers and paste-ups. Some work in the area is commissioned or tolerated, while other graffiti is unauthorised, creating a shifting boundary between public art, property damage, tourism and commercial place-making. The word 'EARN' also carries its own accidental or deliberate associations with money, work and status, which are especially resonant in a neighbourhood undergoing intense economic change and gentrification. Former industrial buildings around the Old Truman Brewery now support markets, offices, nightlife and creative businesses, bringing new investment and high visitor numbers to streets once dominated by manufacturing and local trade. The photograph frames the graffiti close enough for the word to dominate while still showing its rough urban wall context. Street art in Brick Lane is highly ephemeral: new pieces can be painted over within days, damaged by weather or obscured by advertising and building work. That makes photography an important record of individual works and of the broader visual character of the area at a particular moment. The bold word turns an otherwise ordinary wall into a temporary statement, reflecting the speed with which meaning can be added to and erased from the urban landscape.
Brick Lane, London E1, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A0070,Audrey,Hepburn,mural,Zabou,Brick,Lane,London,Spitalfields,streetart,art,portrait,actress,cinema,film,graffiti,urban,building,facade,colourful,EastLondon,England,UK,culture,creative,tourism,heritage,wall,publicart,Best in Brick Lane,Audrey Hepburn mural,Zabou mural,Zabou street artist,Brick Lane mural,street art London,Audrey Hepburn,Brick Lane,East London,portrait mural,public art,urban art,London street art,Tower Hamlets,wall painting,celebrity portrait,British street art,colourful façade
Description: Tony Smith image Alamy 3E3029W - . Audrey Hepburn mural on Brick Lane by street artist Zabou, presented with the phrase 'Best in Brick Lane' on a vividly painted east London façade. Hepburn remains one of twentieth-century cinema's most recognisable faces, and her image is repeatedly reinterpreted in popular art, fashion and advertising decades after films such as Breakfast at Tiffany's and Roman Holiday. Using a familiar celebrity portrait allows a mural to communicate immediately to a wide audience, while the surrounding colour and street setting relocate that polished screen image into the rougher visual language of urban art. Zabou is known for large-scale figurative and portrait murals, and work of this kind fits Brick Lane's international reputation as one of London's principal street-art locations. The district attracts commissioned murals as well as unsanctioned graffiti, stencils, stickers and paste-ups, creating a streetscape that can change quickly as new work replaces old. Brick Lane's artistic identity grew alongside the reuse of warehouses and the Old Truman Brewery for studios, markets, music, fashion and other creative industries. The mural therefore forms part of a broader economic and cultural transformation in which former industrial walls became valuable surfaces for art, tourism and brand imagery. The photograph records the work within its architectural context rather than isolating it as a gallery object. That context matters because street art is inseparable from location: weather, neighbouring signs, passing people and later overpainting all affect how a piece is seen and how long it survives. Celebrity murals can also become informal landmarks, photographed and circulated online in ways that strengthen the visitor identity of a neighbourhood. The phrase 'Best in Brick Lane' adds a playful local claim to a global screen icon, combining place branding with portrait art. The work also reinforces Brick Lane's open-air gallery identity.
Brick Lane, London E1, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,IMG_9855,Liverpool,Graffiti,Caleb,LVP,Merseyside,Liverpool Graffiti - Caleb LVP,Liverpool Graffiti,Caleb LVP,England,English,Liverpool signage,Liverpool street art,Liverpool graphic design,Liverpool urban culture,Liverpool public message,public signage,graphic design,typography,street art,urban culture,visual identity,public message,branding,signage,wall art,contemporary design,city streets,urban detail,printed message,local identity,advertising,commercial graphics,street scene,public communication,design detail
Description: Tony Smith image Alamy 3E8E1HJ - Liverpool Graffiti - Caleb LVP. Photographed on 4 April 2026. At Liverpool, the sign, poster, plaque, mural or artwork is shown as part of the public environment rather than separated from its physical setting. Regeneration around the docks and city centre continues to change Liverpool's built environment, making photographs of businesses, transport and public art useful dated records. The lettering, colour and placement of Liverpool Graffiti - Caleb LVP are central to the subject, showing how the message or artwork was encountered in Liverpool rather than as a detached graphic. Liverpool Graffiti - Caleb LVP forms part of the visual culture of Liverpool, with typography, paint, print or illuminated signage tied directly to its street or venue.
Liverpool, Merseyside, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A0078,Brick,Lane,flyposters,London,streetart,posters,EastLondon,graffiti,urban,Spitalfields,culture,music,nightlife,advertising,wall,England,UK,creative,street,art,Brick Lane flyposters,flyposting,street posters,Brick Lane street art,Brick Lane,East London,urban wall,poster layers,street advertising,guerrilla marketing,public notices,paste up art,street culture,London street art,Tower Hamlets,East End London,ephemeral art,urban texture,wall collage,creative quarter,music posters,event posters,independent culture,visual culture,city wall,public realm
Description: Tony Smith image Alamy 3E302AM - . Layers of flyposters, printed notices and street art on a Brick Lane wall in east London, creating a constantly changing collage of commercial promotion, cultural announcements and informal urban graphics. Flyposting has long been associated with music, club nights, political campaigns, small events and businesses that need cheap, immediate access to public attention. Unlike authorised billboard advertising, posters pasted directly onto walls and street furniture occupy a legally and visually contested space, often being removed, covered or replaced within days. That impermanence is particularly characteristic of Brick Lane, where murals, graffiti, stickers, stencils and paste-ups change so frequently that individual walls can become visual records of successive events and subcultures. The street's reputation for independent music, nightlife, fashion, food and art creates a receptive environment for this kind of low-cost promotion. At the same time, widespread flyposting can be treated by councils and property owners as litter, visual clutter or unauthorised advertising, placing it at the boundary between creative expression and environmental enforcement. The photograph focuses on the accumulation rather than on a single poster, showing torn edges, overlapping designs and weathered paper as part of the texture of the street. Such walls reveal how public space is repeatedly claimed by different voices, from professional promoters to artists and local campaigners. Brick Lane's converted warehouses and the Old Truman Brewery have helped make the area a major creative and visitor district, increasing both the audience for posters and the commercial value of its street-art aesthetic. As redevelopment advances, informal surfaces can disappear behind restored façades or controlled advertising spaces, making photographs of flyposted walls useful records of a less regulated visual culture.
Brick Lane, London E1, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,IMG_5450,Dundee,Scotland,waterfront,mural,portrait,streetart,public,art,urban,culture,regeneration,Tay,graffiti,painting,Large,near,the,River
Description: Tony Smith image Alamy 3E5TC5W - Large portrait mural on Dundee Waterfront near the River Tay, Dundee, Scotland, UK. The photograph is a contemporary editorial record of the subject and its surroundings at Dundee Waterfront, Dundee, Scotland, UK. Visible signage, lettering, architecture, street furniture, transport infrastructure, public art, commercial branding or landscape details are retained where present, giving the image value both as a description of the immediate scene and as a reference for how the place looked at the time of photography. The image records contemporary public art within Dundee's regenerated waterfront area. Murals and temporary artworks add another layer to a district transformed by major cultural and infrastructure investment, creating a visual record that may change as sites are redeveloped. The image has wider editorial relevance for local history, heritage, tourism, transport, retail, planning, regeneration, business and social change where those themes apply to the subject. It can support news and feature coverage as well as retrospective comparison if the building, business, artwork, service, route or streetscape is altered, redeveloped, rebranded, closed or otherwise changes in future. The composition also preserves small visual details that are easily lost over time, including materials, signs, logos, road or rail features, shopfront treatment, public-realm design and the relationship of the subject to neighbouring buildings or open space. This makes the photograph useful not only as a straightforward location image but also as a documentary record of everyday urban and cultural life.
Dundee Waterfront, Dundee, Scotland, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0122,DART,train,mural,78 Talbot Street,Dublin,Ireland,Kameleon Turkish Barber,street,art,green,commuter,graffiti,portraits,barber,shop,railway,transport,public,urban,culture,business,regeneration,city-centre,Irish,visual,neighbourhood,identity,irish rail train,Ireland rail train,Leap card
Description: Tony Smith image Alamy 3EM2JFH - DART train mural at 78 Talbot Street in Dublin 1, Ireland, beside Kameleon Turkish Barber. The large street artwork covers the upper wall with a stylised green commuter train, colourful graffiti lettering and painted portraits, while the barber shop occupies the ground floor. The mural combines railway imagery with Dublin street culture and gives the otherwise functional commercial building a striking visual identity. The photograph is suitable for editorial coverage of DART, Dublin railways, street art, murals, graffiti, Talbot Street, public art, urban culture, commuter trains, Irish transport, local businesses, barber shops, regeneration and city-centre streetscapes. The strong green train motif is likely to attract buyers looking for an unusual visual representation of Dublin public transport rather than a conventional railway photograph. It also works for stories about mural art, neighbourhood identity, independent businesses and the way transport imagery becomes part of popular urban culture.
78 Talbot Street, Dublin 1, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,are,art,artwork,arty,streets,at,the,John Rocques,1756,map,old,historic,history,Eye walk,these streets,Big city lover,cool,trendy,retail,retailers,area,district,eyewalk,eye,walk,walking,painted,painting,graffiti,hipster,hipsters,tourist,destination,cultural quarter
Description: Tony Smith image Alamy 2M84KD4 - Temple Bar is an area on the south bank of the River Liffey in central Dublin, Ireland. The area is bounded by the Liffey to the north, Dame Street to the south, Westmoreland Street to the east and Fishamble Street to the west. It is promoted as Dublin's 'cultural quarter' and, as a centre of Dublin's city centre's nightlife, is a tourist destination. Temple Bar is in the Dublin 2 postal district.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,sign,signs,painting,graffiti,problems,problem,no farting,Heath St,Warrington,Cheshire,flatology,medical,term,gas,gases,intestines,stomach,anus,embarassing,DIY,fun,funny,passing,pass,flatus,rectum,rectal,nasty,unpleasant,odor,vulgar,noise,noises,noisy,farters,symptom
Description: Tony Smith image Alamy 2RX17T4 - Flatulence is the expulsion of gas from the intestines via the anus, commonly referred to as farting. Flatus is the medical word for gas generated in the stomach or bowels. A proportion of intestinal gas may be swallowed environmental air, and hence flatus is not entirely generated in the stomach or bowels. The scientific study of this area of medicine is termed flatology.
Flatus is brought to the rectum and pressurized by muscles in the intestines. It is normal to pass flatus (to fart), though volume and frequency vary greatly among individuals. It is also normal for intestinal gas to have a feculent or unpleasant odor, which may be intense. The noise commonly associated with flatulence is produced by the anus and buttocks, which act together in a manner similar to that of an embouchure. Both the sound and odor are sources of embarrassment, annoyance or amusement (flatulence humor). In many societies, flatus is a taboo. Thus, many people either let their flatus out quietly or even hold it completely. However, holding the gases inside is not healthy.
There are several general symptoms related to intestinal gas: pain, bloating and abdominal distension, excessive flatus volume, excessive flatus odor, and gas incontinence. Furthermore, eructation (colloquially known as burping) is sometimes included under the topic of flatulence. When excessive or malodorous, flatus can be a sign of a health disorder, such as irritable bowel syndrome, celiac disease or lactose intolerance
Heath St, Stockton Heath, Warrington, Cheshire, England, UK, WA4 6LP
Description
Keywords: Greater Manchester,centre,England,UK,NW,North West,GoTonySmith,HotpixUK,@HotpixUK,OL16,55 Yorkshire St,Rochdale,OL16 1BT,Seven Sisters,mural,art,streetart,in,the,women,female,females,breast,cancer,treatment,town,casino lounge,44,from,2019,uprising festival,graffiti,tale,tales,personal,odyssey,voyage,Hip-Hop,HipHop
Description: Tony Smith image Alamy 2RC95RN - Tea One “ The Baum / Yorkshire Street
Combining elements of classical painting with inspirations from the world of graffiti Tea One is influenced by the post industrial landscape of Northern Britain. Particularly he draws from those remnants left over from the areas once abundant past. Painting on the alley known as the Baum he has weaved seven stories together from seven different women. Calling the piece the ˜Seven Sisters' he is of course also referencing the famous apartment blocks through placing real life stories into that context.
His stories are those which many of us would have experienced. Each of the women in the mural have their own tale to tell but they are tales that all of us could associate with. From left to right the first woman holds something up to a light. It's unknown what it is but it could be an opportunity or it could be a burden. She doesn't know it yet but her life might be about to change either way. Next to her a woman sits in a boat rowing with her back to her destination. She isn't sure what lies ahead yet she still travels into the unknown, she is on her own personal odyssey.
The third woman is wearing a mask. She is struggling with her own identity. Perhaps living a charade or just not sure what journey she is on or whether it is indeed the right one. The silhouetted figure next to her represents travel. Either leaving or arriving she could be about to go on a journey or may be coming home after a voyage. The fifth woman represents rebirth, pregnant she is about to bring new life into the world. Next to her meanwhile a tear falls down the face of the sixth woman. She is experiencing her own private tragedy. Though we don't know what it is we will have all had similar emotions from time to time.
The mural from ˜Teaone' is called the Seven Sisters
The final woman as part of this mural is deeply personal to the artist. Showing a woman undergoing treatment for breast cancer. He calls this overcoming the monster
55 Yorkshire St, Rochdale, Greater Manchester, England, UK, OL16 1BT
Description
Keywords: Greater Manchester,centre,England,UK,NW,North West,GoTonySmith,HotpixUK,@HotpixUK,OL16,55 Yorkshire St,Rochdale,OL16 1BT,Seven Sisters,mural,art,streetart,in,the,women,female,females,breast,cancer,treatment,town,casino lounge,44,from,2019,uprising festival,graffiti,tale,tales,personal,odyssey,voyage
Description: Tony Smith image Alamy 2RC95RJ - Tea One “ The Baum / Yorkshire Street
Combining elements of classical painting with inspirations from the world of graffiti Tea One is influenced by the post industrial landscape of Northern Britain. Particularly he draws from those remnants left over from the areas once abundant past. Painting on the alley known as the Baum he has weaved seven stories together from seven different women. Calling the piece the ˜Seven Sisters' he is of course also referencing the famous apartment blocks through placing real life stories into that context.
His stories are those which many of us would have experienced. Each of the women in the mural have their own tale to tell but they are tales that all of us could associate with. From left to right the first woman holds something up to a light. It's unknown what it is but it could be an opportunity or it could be a burden. She doesn't know it yet but her life might be about to change either way. Next to her a woman sits in a boat rowing with her back to her destination. She isn't sure what lies ahead yet she still travels into the unknown, she is on her own personal odyssey.
The third woman is wearing a mask. She is struggling with her own identity. Perhaps living a charade or just not sure what journey she is on or whether it is indeed the right one. The silhouetted figure next to her represents travel. Either leaving or arriving she could be about to go on a journey or may be coming home after a voyage. The fifth woman represents rebirth, pregnant she is about to bring new life into the world. Next to her meanwhile a tear falls down the face of the sixth woman. She is experiencing her own private tragedy. Though we don't know what it is we will have all had similar emotions from time to time.
The mural from ˜Teaone' is called the Seven Sisters
The final woman as part of this mural is deeply personal to the artist. Showing a woman undergoing treatment for breast cancer. He calls this overcoming the monster
55 Yorkshire St, Rochdale, Greater Manchester, England, UK, OL16 1BT
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,English,British,UK,city,centre,typewriter,shutter,shop,meme,street,artist,art,Street Art,Truth Told,I only put this here,because Im hoping you Instagram It,it,on,E1,E1 6QL,LA,based,WordSmith,stencil,word,words,work,works,Shoreditch,frame,colourful,courier,font,urban,graffiti
Description: Tony Smith image Alamy 2R39XXX - . Street Art Instagram meme - Truth Told, I only put this here,because I'm hoping you Instagram It, Brick Lane, London, England, GB, E1 6QL. Photographed on 21 May 2023. WRDSMTH is an LA-based street artist who aspires to inspire others on a daily basis with colorful and well-chosen words crafted into indelible thoughts and phrases that he paints/pastes onto walls around the world. Read more at maybe buy some of his merch ! Brick Lane developed through successive migrant communities and industries in London's East End, becoming especially associated with Jewish tailoring and later the Bangladeshi community. The former Truman Brewery complex has been reused for markets, offices, exhibitions and creative businesses, helping turn the area into a major destination for street art, food, fashion and independent retail. Looking at public realm, the longer history is that monuments and civic artworks are part of the visual history of place
Their subjects reveal whom a community chose to celebrate, while later reinterpretation or controversy can change the meaning of an apparently permanent object. The background to industrial archaeology is that industrial heritage links architecture and machinery with the people who worked in mines, potteries, foundries and factories
As production declined or modernised, many sites were demolished, adapted or preserved as museums and regeneration projects. Within the history of shopfront, local businesses provide unusually precise social-history evidence because names, branding and uses change more quickly than the buildings they occupy
A shop, café, pub or service company can disappear while the façade survives, leaving photographs as a record of the previous commercial life of the street. In 2026, public realm remains relevant because contemporary street art continues to blur the line between unofficial expression, commissioned mural and tourist attraction
Images are therefore relevant to urban culture, creative.
Brick Lane, London, England, GB, E1 6QL
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,London,England,English,British,UK,city,centre,streets,EC2A,Paul Street,East,EC2A 4NE,King,Charles,kings,coronation,union,flag,jack,not my,dissent,graffiti,take,art,street,streetart,on,the,song,track,GB,great,flags,patriots,near,Paul St,decline
Description: Tony Smith image Alamy 2R39XY7 - This is the end of a second decade making street art for Dr.D ( aka @Subvertiser ) and the second solo show. There won't be another one for ten years. 'Panicky in the UK' is a collection of the past 20 years of Dr.D's work.
About
'Panicky in the UK' BSMT presents a subversion art exhibition by Dr.D (aka Subvertiser) with Benjamin Irritant and Lazy Edwin.
This is the end of a second decade making street art for Dr.D ( aka @Subvertiser ) and the second solo show. There won't be another one for ten years. 'Panicky in the UK' is a collection of the past 20 years of Dr.D's work that takes like a sampler from the signage of the street and remixes it with the misheard and repurposed phrases of everyday conversations.
Dr. D aka Subvertiserhas been like the window wiper to the rain of advertising we suffer daily. His bus stop and billboard interventions have forced us to stop, recalibrate and question what we have seen and believed for twenty years! Dr. D will be showing alongside two contemporaries, Benjamin Irritant and Edwin who also work with humorous word play and anti-establishment rhetoric while having a keen eye on the climate emergency. Benjamin Irritant stabs at capitalism with surreal collage and Edwin turns street art on it's head, refusing to beautify thereby pushing against the commercial machine that Public Art has become.
This isn't just decoration chasing likes and pound notes. This is genuine street art. To make the show have some worth beyond just pictures on walls, part of the show will be fund raising for a food bank in the 'Panic Buy'.
BSMT has already raised funds for Extinction Rebellion and continuing in this environmentally sound consciousness, work in the show has been produced using repurposed and upcycled consumer goods and advertising detournement.
'Panicky in the UK' opens at BSMT Urban Art gallery with a private view April 2nd and will run until April 19th.
Paul Street, Shoreditch, London, England, EC2A 4NE
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,GB,United Kingdom,TopShine,hand,office,graffiti,red,vehicle,automobile,rear,manual,low-cost,low cost,WA2,44,Winwick St,Warrington,Cheshire,WA2 7TT,of,valet,polish,shine,wash,washing,cleaners,productivity,commercial,market,entrepreneurship,entrepreneur,sector,labour intensive,cash-in-hand economy,money landering
Description: Tony Smith image Alamy 2R27BYW - . Proshine / TopShine Carwash,44 Winwick Street, Warrington, Cheshire, England, UK, WA2 7TT. Photographed on 11 May 2023, this spring image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 44 Winwick Street, Warrington, Cheshire, England, UK, WA2 7TT, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include United Kingdom, TopShine, hand, office, graffiti, red, vehicle, automobile, rear, manual, low-cost, low cost, providing natural SEO coverage without losing the specific documentary identity of the photograph. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed. For search and editorial use, the image is relevant to the named location, local identity, contemporary Britain, regional tourism, urban life, community activity and the changing appearance of towns and cities. Additional relevant search concepts include WA2, Winwick St, Warrington, Cheshire, WA2 7TT, valet, broadening discoverability while remaining tied to the supplied subject information. The scene contributes a specific, place-based record rather than a generic illustration.
44 Winwick Street, Warrington, Cheshire, England, UK, WA2 7TT
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Wigan & Leigh Council,Greater Manchester,England,Lancs,former,free,and,101,WN7 4AD,LW,graffiti,erected,by,1902,in,the,reign,of,her Majesty,Queen Victoria,sandstone,Lancashire,heritage,old,Victorian,NW,northern,powerhouse,towns,labels,history,historic,greater Manchester,area
Description: Tony Smith image Alamy 2JH06T8 - . Former Free Library and Municipal College Gymnasium stone - 101 Railway Rd, Leigh WN7 4AD. Photographed on 13 July 2022. The recorded location is 101 Railway Rd, Leigh, Lancashire, England, UK, WN7 4AD. (1894 J C Prestwich and J H Stephen). Corner tower with complex ogee cap roof and open fretwork lantern, finial and lead roll ribs emphasising the roof shape. To the side the elaborate Dutch gable and also the window with red sandstone details. Historically, historic library structures and everyday service scenes document changing ideas about public education and access to knowledge
Even small branches can play an important social role beyond book lending. As background, britain's railways reshaped towns, industry and passenger travel from the nineteenth century onwards, creating a dense network of stations, goods yards, signalling infrastructure and long-distance routes
Surviving buildings, signs and operating equipment now document both railway heritage and continuing public transport. Looking at the subject's development, commemorative plaques, gravestones and monuments transform individual or collective memory into a permanent feature of the landscape
Their wording, materials and location can illuminate genealogy, social history, military service and changing attitudes to public remembrance. In 2026, public libraries remain significant community infrastructure, particularly for people needing free access to information, digital services and shared space
Photographs of earlier staffing and structures can support coverage of service change and community ownership. Against the 2026 backdrop, rail policy is especially topical: the Railways Bill is progressing through Parliament and is intended to establish Great British Railways as the publicly owned directing mind for track, stations, timetables and passenger services
Older branded trains and station scenes therefore gain additional documentary value during another major restructuring of the.
101 Railway Rd, Leigh, Lancashire, England, UK, WN7 4AD
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,UYM,HW,Newtownards,road,rd,shipbuilding,company,yellow,crane,Harland and Wolff,BT4 1AB,BT4,1974,flag,flags,union,paramilitary,group,groups,Harland Wolff
Description: Tony Smith image Alamy 2PM64TF - . Ulster Young Militants Freedom Corner,Tomorrow Belongs To Us,HW, Harland & Wolff Shipbuilding company yellow crane in background, Belfast, NI, BT4 1AB. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1AB, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, UYM, Newtownards, shipbuilding, providing natural SEO coverage without losing the specific documentary identity of the photograph. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed. For search and editorial use, the image is relevant to the named location, local identity, contemporary Britain, regional tourism, urban life, community activity and the changing appearance of towns and cities. Additional relevant search concepts include company, yellow, crane, Harland and Wolff, BT4 1AB, BT4, broadening discoverability while remaining tied to the supplied subject information.
Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1AB
Description
Keywords: GotonySmith,HotpixUK,@HotpixUK,London,England,UK,West End,15,W1F 0HP,shops,stores,dry,cleaner,retail,small business,shutter,graffiti,clean,cleaning,west end,outside,British,exterior,sign,shop,store,laundry,wash,clothes,suit,washing,traditional,old,long established,facade,front
Description: Tony Smith image Alamy 2JJPKRA - . Photographed at 15 ,Berwick St, London, England, UK, W1F 0HP in 2022, this detailed editorial image records the subject within its real surroundings and preserves a specific stage in the life of the location. The photograph centres on Soho Dry Cleaners shop, 15 Berwick St, London, England, UK, W1F 0HP. The image also relates to everyday street life, consumer retail, changing land use, regional identity, retail chain, retail property, visual archive, social history, physical store, urban change, townscape record, everyday life, local character, and place identity. In present-day coverage, the subject reaches into town-centre regeneration and changing footfall, not least because of the role of large retailers in town-centre and edge-of-centre economies. Today's relevance is strengthened by footfall, local identity and the continuing question of how ordinary street scenes become valuable records as businesses and infrastructure change. As a dated visual record of 15 ,Berwick St, London, England, UK, W1F 0HP, the frame retains landscape treatment and surrounding development, making it especially useful if replacement signage subsequently changes the scene. A second descriptive layer includes changing streetscape, commercial streetscape, public realm, period detail, street-level documentary, before-and-after reference, contemporary social history, and brand-led retail. Elements such as Cleaners and Berwick add documentary specificity and may become increasingly useful when compared with later records. The period setting at 15 ,Berwick St, London, England, UK, W1F 0HP helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The wider significance includes town-centre regeneration and the speed at which branding and store formats change as part of the longer story of 15 ,Berwick St, London, England, UK, W1F 0HP.
15 ,Berwick St, London, England, UK, W1F 0HP
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,England,rule,she would rule you through her bankers,landlords and Stormont,BT11,533,Falls Rd,Andersonstown,Belfast,Northern Ireland,BT11 9AA,IRSP,English,Free Marian Price,Marian Price,poster,wall,lettering,stencil
Description: Tony Smith image Alamy 2PM62D2 - . IRSP graffiti - England will still rule you, she would rule you through her bankers, landlords and Stormont, Irish Republican Socialist Party. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 533, Falls Rd, Andersonstown, Belfast , Northern Ireland, UK, BT11 9AA, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, rule, she would rule you through her bankers, landlords and Stormont, providing natural SEO coverage without losing the specific documentary identity of the photograph. The housing context makes the image suitable for coverage of homes, neighbourhoods, residential estates, social and affordable housing, landlord investment, repairs, regeneration, planning and the lived environment. It can support reporting on housing condition, estate renewal, energy efficiency, building safety, development, tenure and the long-term transformation of residential areas. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison.
533, Falls Rd, Andersonstown, Belfast , Northern Ireland, UK, BT11 9AA
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,England,UK,L1,3-4,L1 7AG,painted,street art,streetart,on,the,iconic,building,Wedding,house,Great George Pl,weddings,icon,graffiti,skyscape,cityscape,urban,Chinese communities,oldest,area,district,central,Scouse,settlers,immigrants,migrants,migrant,colour,colourful
Description: Tony Smith image Alamy 2PKA5GG - . John Culshaw's Liver Bird mural, painted on the iconic, Liverpool Wedding House building, 3-4 Great George Pl, Liverpool, England, UK, L1 7AG. Photographed on 1 April 2023, this spring image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 3-4, Great George Place, Liverpool, Merseyside, England, UK, L1 7AG, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Merseyside, 3-4, L1 7AG, painted, street art, streetart, iconic, building, Wedding, house, Great George Pl, weddings, providing natural SEO coverage without losing the specific documentary identity of the photograph. Architecturally, the scene records the form, materials, scale and public-facing character of the built environment, making it useful for coverage of design, planning, conservation, development and urban identity. The image has value for architectural and place-based research because buildings and interiors can be refurbished, repurposed, demolished or substantially altered, while streets and public spaces also evolve. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison.
3-4, Great George Place, Liverpool, Merseyside, England, UK, L1 7AG
Description
Keywords: GoTonySmith,HotpixUK,UK,England,Soho,London,SOHO,doorway,30,pink,Andrew,worked here,disco,painted,spray,paint,1993,1997,2020,Andrew James Weatherall,Primal Scream,album,Screamadelica,producer,1993-97,famous,economy,site,sites,run,entertainments,reason,to,visit,liberal,liberated,area,urban,stencil,graffiti
Description: Tony Smith image Alamy 2JJGAXP - Andrew James Weatherall (6 April 1963 “ 17 February 2020) was an English musician, DJ, songwriter, producer and remixer. His career took him from being one of the key DJs in the acid house movement of the late 1980s to being a remixer of tracks by the likes of Happy Mondays, New Order, Björk, the Orb, the Future Sound of London and My Bloody Valentine.
His production work on Primal Scream's album Screamadelica, adding samples, loops and creating an influential mix of hard rock, house and rave, helped the record win the first ever Mercury Music Prize in 1992 and become one of the most celebrated albums of the 1990s
SOHO, London, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Paint Festival,Gloucestershire,England,UK,GL51,GL51 8NJ,237,bin,red,recycling,art,graffiti,spray,stencil,paint festival,and,bins,mixed,general waste,street,streetart,roller,rollers,African,Biffa,contrast,contrasts,recycle,female,woman,lady,portrait,face,profile,Hip-Hop,HipHop,recycling bin
Description: Tony Smith image Alamy 2M6YFF5 - . Photographed at 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ in 2022, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The photograph centres on Koeone, Cheltenham paint festival and Biffa waste bins street art, at 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ. The frame also records themes of street creativity, traditional materials, community art, creative placemaking, adaptive reuse, changing streetscape, contemporary social history, local history, mural culture, temporary artwork, street-level design, visual archive, period detail, and conservation architecture. For current editorial use, public art and gentrification provide additional context, especially through how regeneration can both support and displace urban art. Current relevance extends to energy retrofit and adaptive reuse, particularly through keeping older buildings useful without erasing their character. The archival value lies partly in recording building condition and alterations around 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ before new ownership alters the character of the place. The surrounding story also includes everyday life, visual street culture, architectural character, heritage landmark, regional identity, archival record, period architecture, and historic townscape. The combination of Koeone, Cheltenham, Gloucestershire, festival, and paint anchors the frame to a recognisable activity, place or moment. The wider setting at 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The record includes a trace of local identity before later change alters the scene. The frame retains a local visual benchmark as a date-specific reference.
237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Flip,&,4,Helter,Skelter,D02 Y798,vintage,gear,clothing,pre-loved,preloved,shop,store,shops,stores,trader,traders,cool,trendy,retail,retailers,area,district,painted,painting,graffiti,hipster,hipsters,tourist,destination,InkSpYre,cultural quarter
Description: Tony Smith image Alamy 2M84KAX - Temple Bar is an area on the south bank of the River Liffey in central Dublin, Ireland. The area is bounded by the Liffey to the north, Dame Street to the south, Westmoreland Street to the east and Fishamble Street to the west. It is promoted as Dublin's 'cultural quarter' and, as a centre of Dublin's city centre's nightlife, is a tourist destination. Temple Bar is in the Dublin 2 postal district.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: Manchester,city,centre,Greater,England,UK,Northern Quarter,M1 1JF,M1,Akse_P19,Akse,P19,of,Ste_Wing,project,art,graffiti,street art,streetart,free,tattoo,hand,covering,covers,eye,Crew,paint,painted,painting,wall,gable-end,gable,end,people,figure,portrait,portraits,concept,watching
Description: Tony Smith image Alamy 2JTD2N4 - . An identifiable period record of Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The image documents Stevenson Square / Little Lever St, Akse_P19 portrait of Ste_Wing, , Northern Quarter, Manchester, England, UK, M1 1JF. The wider scene also brings together adaptive reuse, period architecture, civic architecture, public-realm investment, mixed-use redevelopment, public realm, regional identity, local history, social history, architectural character, everyday life, visual archive, built heritage, and period detail. Today's relevance is strengthened by housing pressure, planning and the continuing question of how regeneration tries to create reasons to visit traditional town centres. Small period details of local activity and public use at Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF may become more significant with time, particularly following later reinterpretation. The subject also sits alongside contemporary social history, community identity, changing land use, commercial redevelopment, urban regeneration, urban fabric, place-making, and historic townscape. The recorded references to Quarter, Little, Square, portrait, and Lever preserve clues about how the subject was presented, used or understood at the time. A later view of Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The wider significance includes housing pressure and the tension between preserving local character and creating modern commercial space when considered against later change at Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF. The period view preserves part of the area's social history as a date-specific reference.
Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF
Description
Keywords: GoTonySmith,HotpixUK,city,centre,Eire,Ireland,spray,paint,in,of,will,be,dearly,missed,1977,2019,1977-2019,Moran,walking,stick,frame,historic,heritage,history,quaint,arts,ingenuity,expression,travel,area,district,rundown,neglected,resistance,character,sayings,phrases,urban,stencil,graffiti
Description: Tony Smith image Alamy 2MCGA3X - . This scene at Dublin, Eire, Ireland in 2019 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The main point of reference is Graffiti - Disobey, Memory of Darragh Moran 1977-2019, Dublin, Eire, Ireland. The image also relates to historic townscape, conservation interest, community identity, mural culture, public art, changing land use, local history, heritage asset, urban graphics, visual archive, visual street culture, before-and-after reference, public realm, and urban artwork. From a 2025-onward perspective, graffiti policy and creative districts are closely linked to this subject, alongside the role of murals in giving neighbourhoods a distinctive identity. The wider contemporary story combines heritage conservation, planning control and the value of architectural landmarks to local identity. Small period details of public access and movement at Dublin, Eire, Ireland may become more significant with time, particularly following later reinterpretation. Further associations within the scene are documentary photography, period architecture, regional identity, architectural character, historic streetscape, period building, public-realm art, and built heritage. Elements such as Moran, Memory, Darragh, Disobey, and Dublin add documentary specificity and may become increasingly useful when compared with later records. Around Dublin, Eire, Ireland, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Its period value extends to graffiti policy and the role of murals in giving neighbourhoods a distinctive identity as part of the longer story of Dublin, Eire, Ireland. The location additionally provides evidence of adaptive reuse and the balance between conservation and modern commercial use when considered against later change at Dublin, Eire, Ireland.
Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,into,that,day,get,out,Graffiti,on,fire,door,messages,think,positive,positively,emergency,exit,doors,doorway,historic,heritage,history,quaint,arts,ingenuity,expression,travel,area,district,rundown,neglected,resistance,character,sayings,phrases
Description: Tony Smith image Alamy 2MCGADC - . An identifiable period record of Dublin, Eire, Ireland in 2019, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The main point of reference is Graffiti on exit fire door - Get out into that day - Dublin. The frame also records themes of period detail, heritage asset, street-level design, archival record, historic townscape, everyday life, documentary photography, urban graphics, adaptive reuse, regional identity, contemporary social history, community art, changing land use, and creative placemaking. The modern context includes continuing discussion of tourism, public art and the role of murals in giving neighbourhoods a distinctive identity. For current editorial use, adaptive reuse and planning control provide additional context, especially through the value of architectural landmarks to local identity. For later comparison, the photograph preserves lettering, decoration and surface detail at Dublin, Eire, Ireland, details that may look very different after later reinterpretation. Other useful contextual ideas include conservation architecture, conservation interest, historic streetscape, community identity, period architecture, architectural detailing, mural culture, and heritage landmark. Details involving Dublin and Graffiti make the image more specific than a generic view and strengthen its local or historical value. For Dublin, Eire, Ireland, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The scene further reflects tourism and the role of murals in giving neighbourhoods a distinctive identity within the real-world context of Dublin, Eire, Ireland. Its period value extends to redevelopment pressure and the balance between conservation and modern commercial use within the specific setting of Dublin, Eire, Ireland.
Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,graffiti,art,street,stairs,M4,52 Church St,NQ4,Manchester,England,UK,M4 1PW,established 1982,established,est,1982,Hip-Hop,HipHop,Manc,Manchester City centre,Mancunian,trendy,funky,tourist,tourism,attraction,attractions,Affleck,market,vintage,unit,units,history,historic,heritage
Description: Tony Smith image Alamy 2JYYR7T - . An identifiable period record of 52 Church St, NQ4, Manchester, England, UK, M4 1PW in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The frame specifically shows Afflecks Palace, established 1982, 52 Church St, NQ4, Manchester, England, UK, M4 1PW. The subject also carries associations with changing streetscape, regional identity, place-making, community identity, ecclesiastical art, liturgical art, period architecture, architectural character, local history, historical comparison, parish church heritage, documentary photography, town-centre renewal, and place identity. The modern context includes continuing discussion of visitor tourism, heritage conservation and the role of parish churches in local identity and genealogy. For current editorial use, housing pressure and heritage conservation provide additional context, especially through how regeneration tries to create reasons to visit traditional town centres. As a dated visual record of 52 Church St, NQ4, Manchester, England, UK, M4 1PW, the frame retains landscape treatment and surrounding development, making it especially useful if closure or conversion subsequently changes the scene. A second descriptive layer includes ecclesiastical craftsmanship, urban regeneration, sacred decoration, changing land use, visual archive, everyday life, before-and-after reference, and devotional artwork. Details involving established, Afflecks, Palace, Manchester, and Church make the image more specific than a generic view and strengthen its local or historical value. A later view of 52 Church St, NQ4, Manchester, England, UK, M4 1PW may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The photograph keeps period character for future local research. The record includes a trace of local identity before later change alters the scene.
52 Church St, NQ4, Manchester, England, UK, M4 1PW
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Gloucestershire,England,UK,GL50,painting,art,art work,street,street art,Cotswolds,streetart,artworks,Girl,with,female,women,girl,girls,graffiti,arts,festivals,annual,artists,artis,event,events,colourful,bright,brightens,up,Cheltenhams,town centre,ideas,celebration,celebrating,street arts
Description: Tony Smith image Alamy 2M7JH6F - Cheltenham's paint festival is the latest addition to the Cheltenham festivals calendar which brings high-quality artwork from leading national and international street artists to the town centre.
‹Read more at https://www.cheltenhampaintfestival.co.uk/
Sherborne Place Car Park, Cheltenham, Gloucestershire, England, UK, GL50
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Gloucestershire,England,UK,GL50,painting,art,art work,street,street art,Cotswolds,streetart,artworks,Car Park,parking,The99,The 99,woman,with,earring,women,girl,girls,graffiti,arts,festivals,annual,artists,artis,event,events,colourful,bright,brightens,up,Cheltenhams,town centre
Description: Tony Smith image Alamy 2M7JH75 - Cheltenham's paint festival is the latest addition to the Cheltenham festivals calendar which brings high-quality artwork from leading national and international street artists to the town centre.
‹Read more at https://www.cheltenhampaintfestival.co.uk/
Sherborne Place Car Park, Cheltenham, Gloucestershire, England, UK, GL50
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,Widewalls,project,Is Inviolable,man,disabled,on a,gable end,in,art,German,graffiti,artist,MaClaim,charity,backontrackmanchester,holistic support,community learning,Ancoats,Cities of Hope festival,Swan Buildings,Cable Street,5 Cable St,Manchester,England,UK,M4 5EQ,wide walls,artworks,mind,pain,mental,health,mental health
Description: Tony Smith image Alamy 2JYYR48 - The streets of Manchester have recently gotten richer by a number of gorgeous street art pieces because of the Cities of Hope festival. Case Ma'Claim was one of the invited artists, and he created a stunning piece entitled Human Dignity is Inviolable. He worked with the charity Back on Track and decided to depict one of the people they support. The German graffiti artist employed his signature life-like imagery to create this amazingly realistic piece that sends a positive message that anyone can make their life better. Just like a man depicted in the mural, we all need to recollect for a moment, and reflect on our decisions and think about are plans before venturing onto a wonderful journey called life. And sometimes, in this world full of negativity and death, it is nice to be reminded that not everything is lost and that we can always get back on track when we fail.
Swan Buildings, 5 Cable St, Manchester , England, UK, M4 5EQ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,graffiti,on,bridge,gate,Tinky Winky Wanka,Moore,Cheshire,England,UK,WA4 6T,WA4,Teletubbies,character,characters,BBC,series,heritage,old,olden,days,past,past times,blue sky,blue skies,out,outside,exterior,disused,forgotten,fenced,off,low,bridges
Description: Tony Smith image Alamy 2JWB54K - Teletubbies is a British children's television series created by Anne Wood and Andrew Davenport for the BBC. The programme focuses on four differently coloured characters known as the Teletubbies, named after the television screens on their bellies. Recognised throughout popular culture for the uniquely shaped antenna protruding from the head of each character, the Teletubbies communicate through gibberish and were designed to bear resemblance to toddlers
Tinky Winky (played by Dave Thompson and Simon Shelton in the original series and by Jeremiah Krage in the revival series) is the first Teletubby, as well as the largest and oldest of the group. He is covered in purple terrycloth and has a triangular antenna on his head. He often carries a red bag.
Moore Ln, Warrington, Cheshire, England, UK, WA4 6T
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,firing,guns,uniform,white,armour,rose,artist,art,artwork,Runcorn old town,town,WA7 1LR,storm trooper,fires,flower,flowers,peace,StarWars,blaster,gun,Halton,Cheshire,England,UK,black,graffiti,Star Wars,starwars,Banksy Style,stencilled,streetart,on,white wall
Description: Tony Smith image Alamy 2K14187 - . An identifiable period record of Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The frame specifically shows Stormtrooper fires a gun and a red rose comes out, stencil art in Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR. Another layer of the photograph includes local history, devotional artwork, sacred architecture, Christian iconography, historical comparison, everyday life, liturgical art, documentary photography, regional identity, historic church fabric, archival record, religious heritage, period detail, and parish church heritage. The modern context includes continuing discussion of historic fabric, church maintenance and how sacred art preserves religious, artistic and community history. The image fixes equipment and working practice within Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR at one identifiable point, providing a benchmark against closure or conversion. The photograph additionally reflects ecclesiastical craftsmanship, church interior, faith heritage, changing streetscape, community identity, contemporary social history, changing land use, and sacred decoration. Details involving comes, Stormtrooper, fires, Church, and Halton make the image more specific than a generic view and strengthen its local or historical value. The wider setting at Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Another strand within the photograph is historic fabric and the conservation challenge of historic interiors and artwork within the real-world context of Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR. The photograph keeps a local visual benchmark before later change alters the scene.
Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR
Description
Keywords: black,wall,gable,end,of,building,GoTonySmith,HotpixUK,@HotpixUK,painted,over,destroyed,art,street,port street,NQ4,Northern Quarter,mental,health,frontman,with,by,Rapper,local hero,outcry,music,icon,album,new,P19,billboard,punk,MC,graffiti,artist,World Mental Health Day,M1
Description: Tony Smith image Alamy 2JTD2MX - Mural of Joy Division frontman Ian Curtis painted over with advert
Rapper Aitch has vowed to remove advert for his new album and restore the painting of ˜local hero' in Manchester
A mural of former Joy Division frontman Ian Curtis on Port Street, Manchester, has been painted over with an advert for local rapper Aitch, prompting such an outcry that the rapper has promised to restore the original painting.
Aitch, an MC from Moston in north Manchester, said he had no control over which billboards were used to advertise his new album and would never have sanctioned such an act of disrespect against a local hero .
It's come to light that the iconic Ian Curtis mural on Port Street has been painted over with my album artwork. This is the first time I've heard of this, me and my team are getting this fixed pronto. No way on earth would I want to disrespect a local hero like Ian, he tweeted. I don't just choose locations for billboards, he added.
The monochrome mural by graffiti artist Akse P19 was created in October 2020 to commemorate World Mental Health Day. It depicts Curtis performing in Brussels in 1979, a year before he killed himself.
Port Street, NQ4, Northern Quarter,Manchester, England, UK, M1 2EQ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,2022,GrandPrix,Formula1,GP F1,flag,Union,art,Mural,murals,Sir,Lewis,Hamilton,fanzone,fan zone,cars,automobiles,racing,JimmyC,Jimmy,Jimmy C,street art,The Art of James Cochran AKA JimmyC,The Art of,James Cochran,AKA JimmyC,akajimmyc,Jimmy. C,Jimmy.C,Silverstone Circuit,England,UK,NN12 8TN,Towcester,graffiti,portrait,2026,2027
Description: Tony Smith image Alamy 2JFTMNX - 03/12/2019 - A mural has been unveiled at Silverstone, the home of the British Grand Prix
A portrait of the British Formula One champion Lewis Hamilton at Silverstone 2019. Project supported by Sky Sport F1
To celebrate his stunning achievements, a mural has been unveiled at Silverstone, the home of the British Grand Prix.
Sky Sports F1 - the home of live and exclusive F1 - hired artist James Cochran , who also created the famous David Bowie mural in Brixton - to design the piece to celebrate Hamilton's latest title crown.
The impressive-looking painting displays Hamilton in his Mercedes gear, with the Union Jack acting as a stunning backdrop.
The mural has been emblazoned on a section of a wall at the world famous Silverstone circuit, a track which has seen Sir Lewis Hamilton triumph a record six times.
More at https://www.mirror.co.uk/sport/formula-1/lewis-hamilton-mural-unveiled-silverstone-21019129
Silverstone Circuit, Silverstone Village, Towcester, Northamptonshire, England, UK, NN12 8TN
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NOHO NYC,NYC,New York City,St Marks Place,St Marks Place NYC,street,New York Street,USA,America,City Centre,city,centre,center,city center,East Village,Eastvillage,Cash Machine,AutoTeller,street cash machine,Manhattan,New York,NY,Harlem,cash,neighborhood,graffiti,art,attraction,tourist,tourism,streets,24 hrs,24 hours,on,rough,money,bank card
Description: Tony Smith image Alamy RBF07B - Money and Art, ATM at East 7th Street, East Village, Manhattan, New York, NY, USA gives a direct editorial record of a recognisable subject, with location, signage, architecture or everyday behaviour carrying much of the meaning. An ATM in Manhattan's East Village turned into or surrounded by art links money, street culture and neighbourhood identity in a city where cash machines are part of the visual clutter of commerce. The subject can illustrate urban art, financial access, gentrification, consumer culture, New York street life, cash use and the way everyday infrastructure becomes part of a creative streetscape. The location detail, New York, Manhattan, strengthens searches for regional features, travel pages, local-history pieces and news use where a named place matters. For buyers, the strength lies in the combination of a named subject, a lived-in setting and enough visual specificity to carry stories about how places are used, remembered, funded, visited or contested.
East 7th Street, East Village, Manhattan, New York, NY, USA
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,painting,graffiti,spraying,art,girl,girl painting,pigtail,pigtails,pasted,paste up,various,artworks,street,lane,themes,tolerated,E1 6QL,face,faces,image,images,points,pointing,write,writes,is,life,corner,wall,walls,Victorian,East End
Description: Tony Smith image Alamy 2AE024F - . Photographed at Brick Lane, London, England, GB, E1 6QL in 2019, this is a specific real-world record of the subject, its setting and the period details surrounding it. The scene shows Art is Life,painting,graffiti,Brick Lane,eastend,London,England,UK, E1. Further facets of the subject include conservation interest, urban fabric, historic frontage, period streetscape, industrial supply chain, heritage asset, changing streetscape, regional identity, traditional building materials, historical comparison, public realm, visual archive, factory history, and industrial artefact. For contemporary context, adaptive reuse and factory closures are closely related themes, especially where the issue becomes the historical importance of everyday manufactured objects and materials. Viewed from the mid-2020s, the subject sits within continuing debate about heritage conservation, planning control and the contrast between preservation and redevelopment. As the area changes, the photograph preserves the way the place functioned before later physical or commercial change within Brick Lane, London, England, GB, E1 6QL. The wider local story also touches on changing land use, local character, historic townscape, period building, production technology, contemporary social history, heritage landmark, and building-material production. References to Brick, graffiti, painting, London, and eastend help fix the photograph to its own subject and period rather than reducing it to a generic view. A later view of Brick Lane, London, England, GB, E1 6QL may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. A further contemporary connection is adaptive reuse and the historical importance of everyday manufactured objects and materials as part of the longer story of Brick Lane, London, England, GB, E1 6QL. The image fixes a local visual benchmark as a date-specific reference.
Brick Lane, London, England, GB, E1 6QL
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,Shoreditch,east end,bird,female,paste,paper,superhero,super heroine,superheroine,ear,ears,mask,sexy,erotic,Cat Woman,stencil,graffiti,street-art,street art,sex,black,live,and,let,pasted,paste up,various,artworks,street,lane,themes,tolerated
Description: Tony Smith image Alamy 2AE024W - . This location-based editorial photograph from Brick Lane, London, England, GB, E1 6QL in 2019 preserves a recognisable subject together with clues about how the place was used and presented at the time. The image documents Cat Woman stencil,graffiti, Shoreditch,east end,london, England, UK. The scene additionally carries associations with changing streetscape, period building, working-industry history, before-and-after reference, adaptive reuse, visual archive, historic commercial architecture, traditional building materials, changing land use, community identity, historic townscape, industrial archaeology, architectural detailing, and social history. Today's wider story includes manufacturing history, factory closures and the practical question of recording industries that shaped northern towns. For contemporary context, embodied carbon and energy retrofit are closely related themes, especially where the issue becomes keeping older buildings useful without erasing their character. For place-based research, the view documents period details that may disappear after redevelopment or refurbishment within the setting of Brick Lane, London, England, GB, E1 6QL. The photograph additionally reflects urban fabric, place identity, production works, built heritage, industrial supply chain, documentary photography, local history, and manufacturing heritage. Details involving stencil, Woman, Shoreditch, graffiti, and london give the scene useful specificity and strengthen its local, cultural or historical identity. A later view of Brick Lane, London, England, GB, E1 6QL may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The wider significance includes manufacturing history and recording industries that shaped northern towns within the specific setting of Brick Lane, London, England, GB, E1 6QL. The record includes period character before later change alters the scene.
Brick Lane, London, England, GB, E1 6QL
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,paper and spray paint art,London,Uk,E1,paper,paint,artist,Buxton St,stencils,pano,graffiti,stenciled,papered,and,spray,sprayed,paint art,artists,pasted,paste up,various,artworks,street,lane,themes,tolerated,E1 6QL,face,faces,image,images,Hip-Hop,HipHop,urban,stencil
Description: Tony Smith image Alamy 2AE028D - . Stencil, paper and spray paint art, Buxton Street,off Brick Lane,Spitalfields,East End,London,England,Uk, E1,panorama. Photographed on 26 November 2019. In London, art is all around you. This is particularly true in the streets of East London's trendsetting Shoreditch, which are emblazoned with creative street art all year round. In the longer view, city-centre photography documents both designed space and informal use
Architecture, signage, traffic, public art and pedestrian movement together reveal how people experience a place, often providing a more useful record of urban change than landmark images alone. From a heritage perspective, landscape photographs record more than scenery: buildings, vegetation, weather, transport and land use combine to show how a place appeared at a particular moment
Repeated views can later become valuable evidence of development, environmental evolution and shifting patterns of use. In historical terms, beer production links malt, hops, yeast and water with specialist equipment and cellar practice
Images of brewing vessels, casks and handpumps can illustrate both manufacturing and the pub trade that brings cask ale to the customer. Current 2026 relevance comes from the fact that urban regeneration in England continues to focus on town-centre renewal, housing, public realm and reuse of vacant commercial property
Earlier street scenes provide valuable before-and-after evidence of these changes and of the businesses or structures lost along the way. As of 2026, current interest in climate and place-making gives atmospheric landscape photographs added documentary value, particularly where weather, coastlines or urban development are prominent. As of 2026, current regeneration programmes make older urban photographs particularly valuable
They allow comparison of high streets, underpasses, shopping areas and public spaces before redevelopment, while also documenting local identity that may not survive physical change.
Buxton Street,off Brick Lane,Spitalfields,East End,London,England,Uk, E1,panorama
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,Brick Lane,East London,No Place,For Hate,Bozo,London,racist,racism,British,GB,great Britain,Brexit,Tories,Bozzer,liars,Johnocchio,artists,liar,Conservatives,Conservative,Johnson,clown,clowns,Boris,E1,E1 6QL,graffiti,hard Brexit,soft brexit,art,artist,no-deal,UK Election Dec 2019
Description: Tony Smith image Alamy 2AE02K0 - . An on-location image from Brick Lane, East London, England, UK in 2019, useful both for the specific subject shown and for the evidence it retains about local identity, design, use and everyday life. At the centre of the frame is Brick Lane graffiti,No Place For Hate,Bojo The Bozo,East London,England. Other connected aspects include period detail, contemporary social history, historical comparison, place identity, electoral messaging, engineering heritage, government priorities, industrial archaeology, building-material production, community identity, historic context, social history, constituency representation, and before-and-after reference. The present-day relevance extends to local services and electoral accountability, while a wider concern is tracking how priorities change after elections. Current discussion around this subject increasingly includes manufacturing history alongside adaptive reuse, with particular attention to recording industries that shaped northern towns. From an archival perspective, the photograph anchors small features of identity that written records may overlook around Brick Lane, East London, England, UK. A second layer of the scene includes historic manufacturing, industrial artefact, traditional building materials, public policy, changing streetscape, local character, working-industry history, and civic debate. Details involving graffiti, Place, Brick, and London give the scene useful specificity and strengthen its local, cultural or historical identity. The surrounding context at Brick Lane, East London, England, UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Its period value extends to local services and preserving campaign language that can quickly date when considered against later change at Brick Lane, East London, England, UK. The photograph keeps period character for later comparison.
Brick Lane, East London, England, UK
Description
Keywords: @HotpixUK,Hotpixuk,GoTonySmith,B5,Graffiti urban street art,in Floodgate St,Bordesley & Highgate,Birmingham,West Midlands,England,UK,B5 5ST,Floodgate St,Graffiti,street,artist,tag,tagged,Deritend,painted,unit,factory,eightytwo,82 Floodgate St,82 Floodgate Street,street art,streetart,artists,Brum,murals,faces,urban,innercity,inner city,spray paint,spray painted,Hip-Hop,HipHop
Description: Tony Smith image Alamy 2AERPEE - . An authentic period view of Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST in 2019, showing a subject whose value extends beyond the immediate scene into local history and changing social context. The main subject is 82 Graffiti urban street art,in Floodgate St,Digbeth,Bordesley & Highgate,Birmingham,West Midlands,England,UK,B5 5ST. The scene additionally carries associations with factory history, archival record, local history, adaptive reuse, regional identity, place identity, urban fabric, manufacturing heritage, social history, historic context, local character, industrial supply chain, historical comparison, and changing land use. For contemporary context, industrial conservation and adaptive reuse are closely related themes, especially where the issue becomes recording industries that shaped northern towns. Viewed from the mid-2020s, the subject sits within continuing debate about redevelopment pressure, adaptive reuse and the role of distinctive architecture in local identity. As a documentary source, the scene fixes the way the place functioned before later physical or commercial change as seen at Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST. A second layer of the scene includes building-material production, period detail, industrial archaeology, period streetscape, architectural character, engineering heritage, working-industry history, and contemporary social history. Elements such as Floodgate, Midlands, Birmingham, urban, and Digbeth add documentary specificity and may become more useful when compared with later records. The surrounding context at Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The image fixes details of everyday use as part of Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST's history.
Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST
Description
Keywords: @HotpixUK,Hotpixuk,GoTonySmith,B5,Graffiti urban street art,in Floodgate St,Bordesley & Highgate,Birmingham,West Midlands,England,UK,B5 5ST,Floodgate St,Graffiti,street,artist,tag,tagged,Deritend,painted,bring,head,face,viking,wall,street art,streetart,artists,Brum,murals,faces,urban,innercity,inner city,spray paint,spray painted
Description: Tony Smith image Alamy 2AERPEG - . Made at Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST in 2019, this photograph records a real place and subject in context, allowing later viewers to compare what has survived, changed, closed, moved or been replaced. The subject recorded here is Amon Amarth bring Berserker tour,Graffiti urban street art,in Floodgate St,Digbeth,Bordesley & Highgate,Birmingham,West Midlands,England,UK,B5 5ST. The wider subject matter also includes historic frontage, period detail, community identity, period building, changing land use, contemporary social history, documentary photography, built heritage, everyday life, public realm, local history, place identity, local character, and heritage landmark. In the mid-2020s, energy retrofit and maintenance costs keep the subject current, particularly through reusing existing buildings rather than demolishing them. From an archival perspective, the view leaves evidence of signage, materials, design and everyday use around Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST. The wider local story also touches on period streetscape, cityscape history, regional identity, visual archive, archival record, before-and-after reference, conservation architecture, and architectural character. Elements such as bring, Midlands, Berserker, Bordesley, and Digbeth add documentary specificity and may become more useful when compared with later records. Around Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The image also provides a reference for energy retrofit and reusing existing buildings rather than demolishing them in a form that can be compared with future views of Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST. It also preserves a point of historical comparison before later change alters the scene.
Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST
Description
Keywords: @HotpixUK,Hotpixuk,GoTonySmith,B5,Graffiti urban street art,in Floodgate St,Bordesley & Highgate,Birmingham,West Midlands,England,UK,B5 5ST,Floodgate St,Graffiti,street,artist,tag,tagged,Deritend,painted,street art,streetart,artists,Brum,murals,faces,urban,innercity,inner city,spray paint,spray painted,trail,walking,tour,arches,arch,walls
Description: Tony Smith image Alamy 2AERPMD - . Made at Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST in 2019, this photograph records a real place and subject in context, allowing later viewers to compare what has survived, changed, closed, moved or been replaced. The location is represented through Vik Void,Graffiti urban street art,in Floodgate St,Digbeth,Bordesley & Highgate,Birmingham,West Midlands,England,UK,B5 5ST. The image connects the immediate subject with conservation architecture, contemporary social history, archival record, conservation interest, period building, documentary photography, heritage landmark, historic context, architectural detailing, historic frontage, public realm, historic townscape, changing streetscape, and urban fabric. Viewed from the mid-2020s, the subject sits within continuing debate about heritage conservation, planning control and the contrast between preservation and redevelopment. For later comparison, the photograph anchors a particular stage in the life of the location at the recorded site in Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST. A second layer of the scene includes visual archive, changing land use, architectural character, community identity, cityscape history, period detail, adaptive reuse, and regional identity. The recorded references to Digbeth, Highgate, Midlands, Bordesley, and urban preserve clues about how the subject was presented, used or understood at the time. The surrounding context at Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The location additionally provides evidence of heritage conservation and the contrast between preservation and redevelopment within the specific setting of Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST. The scene captures a local visual benchmark as a date-specific reference.
Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST
Description
Keywords: @HotpixUK,Hotpixuk,GoTonySmith,B5,Graffiti urban street art,in Floodgate St,Bordesley & Highgate,Birmingham,West Midlands,England,UK,B5 5ST,Floodgate St,Graffiti,street,artist,tag,tagged,Deritend,painted,arches,rail,railway arch,viaduct,street art,streetart,artists,Brum,murals,faces,urban,innercity,inner city,spray paint,spray painted,trail,walking,tour
Description: Tony Smith image Alamy 2AERPMX - . Photographed at Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST in 2019, this is a specific real-world record of the subject, its setting and the period details surrounding it. The photograph records Face Graffiti urban street art,in Floodgate St,Digbeth,Bordesley & Highgate,Birmingham,West Midlands,England,UK,B5 5ST. A broader reading of the scene brings in transport interchange, commuter travel, social history, regional identity, railway branding, community identity, period building, local history, conservation interest, everyday life, rail mobility, heritage asset, public transport network, and historical comparison. The subject remains useful for current coverage of rail reform and fares, not least because of making rail simpler and more dependable. Today's wider story includes adaptive reuse, planning control and the practical question of keeping older buildings useful without erasing their character. For local-history research, the photograph anchors the combination of built form, activity and local identity in this part of Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST. Other useful associations include visual archive, local character, historic commercial architecture, trackside infrastructure, station environment, passenger railway, cityscape history, and place identity. References to Bordesley, Graffiti, urban, Digbeth, and Highgate help fix the photograph to its own subject and period rather than reducing it to a generic view. The period setting at Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. Another strand within the photograph is rail reform and preserving railway heritage while modernising the network within the specific setting of Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST.
Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST
Description
Keywords: GoTonySmith,Hotpixuk,@Hotpixuk,Ireland,Dublin City,Leopold Bloom,James Joyce,Irish graffiti movement,art,public artwork,Temple Bar,Eire,Irish,graffiti,movement,Ulysses,side,of,hotel,colourful,Blooms of Dublin,colour,wall,mural,murals,decorated,outside,exterior,outdoors,rooms,bedrooms,street art,streetart,color,colorful,building,buildings
Description: Tony Smith image Alamy 2AYHHNJ - Every year on June 16th many James Joyce enthusiasts, some dressed in Edwardian costume, re-enact this epic pub crawl, and though it's referred to as a ˜literary event' it's basically an excuse for lots of drinking broken up by a bit of walking and the reading of various excerpts from the book. The event is known as Bloomsday and the first mention of such a thing was found in a letter from James Joyce to a Miss Weaver, dated June 27th 1924 and referring to a group of people who observe what they call ˜Bloom's Day' “ June 16th . The book itself must have made a big impression on someone back in the 1970s as the hotel was named after one of the story's main characters.
Fast forward to the present day and we find James Earley, a Dublin artist whose works are based on his family's artistic past within Irish stained glass art. James has been producing artworks in public spaces since 1997, playing an active role in the Irish graffiti movement, and from 2010 has developed abstract figurative works based on the principles and beauty of stained glass. He has travelled widely with his art throughout Europe, Asia and America and has worked on a variety of large-scale projects with various art-based organisations and multi-nationals which support the arts.
In 2014 James was commissioned to paint the exterior of Blooms Hotel
the project took a full year to complete and to date is the largest public artwork in Ireland. When I first saw it I was quite surprised that this street art wasn't just part of one wall, it was the whole exterior of the building. With my liking for bright colours and abstract, psychedelic designs I just had to take a few photos although the names on the pictures meant nothing to me at the time until I did a bit of later research and found the connection to James Joyce's Ulysses
3-6 Anglesea St, Temple Bar, Dublin 2, D02 FK84, Ireland
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,paste ups,stickers,tags,from,in various colours,artist,Ready to use,Wheatpaste,pop art,street art,Out House project,OutHouse project,street-art,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,graffiti,art,figures,Northern Quarter,NorthernQuarter,colourful,colorful,colours
Description: Tony Smith image Alamy RFF638 - Here's a little insight into the world of D7606
Picking spots is not always easy, a lot of areas like the east end of London are quite saturated with street art, finding a spot without going over other peoples work and tags is always a priority. Being respectful to others work is very important to me. So I like to find new spots and go into areas where no one has been before, I did a series of Bollywood actors and found myself in a busy Southall one night, that was fun. I have been into the urbex spots around Sheffield where the spray can and letters are king, so adding brightly coloured paste ups to those grimy walls is a risk and one I'm glad I have taken, some will approve and others will not but that's the joy of trying new places.
Mostly I am a lover of other peoples work and my photography of that work is how I find different neighbourhoods. Most areas are well know so often I just wander around taking photos, this then gives me that opportunity to do my own work too. I guess my favourite areas right now are Sheffield in the UK and Kreuzberg in Berlin, the back streets are full of grimy walls and doors, a perfect place for paste ups, stickers and tags..
I love those iconic British symbols, ask an American to name an iconic British symbol and a lot will say our red phone box or post box. They featured in my first work and still do in a big way.
Oh yes, I love to take those iconic British symbols abroad, I have travelled a fair bit in the last year- France, Germany and the USA. Hard to say a favourite place really, all have great art and great spots. Overall New York was the most impressive but maybe that was a size thing? It is massive, so much to see and so much good original work around.
Have you ever got in trouble with the police or other people for putting up your work?
Ha¦ oh no, everything I do is within the law !!! I am sure I have annoyed people with my work, some artists are honest enough to say¦ stop !! That's too much !! or that latest work
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,Fuzzylogic75 stencil art,stencil,Northern Quarter,figures,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,artist,stickers,street art,graffiti,paste ups,art,NorthernQuarter,colourful,colorful,colours,arm,pipe,tube,tag,tags,paper,pasted
Description: Tony Smith image Alamy RFF64K - . A grounded editorial photograph records the everyday reality of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, as photographed in 2019. The scene is specifically associated with Fuzzylogic75 stencil art, Manchester Northern Quarter, NQ4, Manchester, England, UK. Related ideas embodied by the location include mural culture, urban visual culture, contemporary mural, community expression, creative regeneration, urban graphics, city artwork, public art, graphic intervention, public realm art, street-level design, and creative streetscape. Seen from a 2025-onward perspective, community artwork also connects with local identity, graffiti versus commissioned work and efforts aimed at creative reuse of redevelopment sites. Because this is a time-specific record of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, later comparison can reveal changes in signage, ownership, land use, transport, street furniture, building condition and the way the public uses the surrounding space. The location additionally reflects art-led regeneration, temporary artwork, illustrated hoarding, local identity, visual placemaking, urban artwork. The scene is further associated with street art, stencilling, street, facs. The scene also carries the language of , and street creativity. Modern coverage of temporary urban art frequently reaches beyond the immediate scene to questions of graffiti versus commissioned work, youth culture and recording temporary artwork. Viewed retrospectively, the photograph can reveal the condition of buildings, public-realm details, local business activity, patterns of everyday use, and regional identity within the surrounding area. Taken together, these details make the photograph a useful record of changes of use, local character, public activity, the appearance of the built environment, and period design as part of the area's longer social history.
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,Northern Quarter,RIP,NorthernQuarter,SSOSVATIME,art,street art,graffiti,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,artist,stickers,paste ups,figures,colourful,colorful,colours,silver,monochrome,BW,black and white,hat,hatter,mad,time
Description: Tony Smith image Alamy RFF64M - . A grounded editorial photograph captures the physical context of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, as it appeared in 2019. The location is represented through SSOSVA TIME RIP the mad hatter, Northern Quarter, Manchester, England, UK. Related ideas embodied by the location include city artwork, street-level design, mural culture, temporary artwork, public realm art, art-led regeneration, urban graphics, community art, local identity, illustrated hoarding, street creativity, and urban artwork. Seen from a 2025-onward perspective, visual placemaking also connects with temporary installations, public-realm investment and efforts aimed at recording temporary artwork. Documentary value is strengthened by the precise setting at Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, where even ordinary details of frontage, equipment, signs, traffic or public activity may disappear as the area evolves. Beyond the immediate subject, the setting involves graphic intervention, contemporary mural, community expression, urban visual culture, creative regeneration, public art. Other local associations include pls fix me, I am broke, Alice, Alice in Wonderland, stencil. The scene also carries the language of , and creative streetscape. Modern coverage of visual placemaking frequently reaches beyond the immediate scene to questions of temporary installations, graffiti versus commissioned work and creative reuse of redevelopment sites. The combination preserved here provides evidence of signage and branding, commercial identity, physical infrastructure, community life, and local continuity as an authentic period reference. As the location changes, the frame remains a reference for historic fabric, everyday services, planning and redevelopment, movement through the area, and social change at this precise location. The location view retains the area's visual identity for visual before-and-after study.
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: Manchester,City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,Bee,Mcr,Bees,Busy Bee,symbol,art,artist,mural,tribute,The Koffee Pot cafe,Tib Street,22 worker bees,representing,22 people killed,Manchester Arena bombing,graffiti artist Russell Meeham,Qubek,Tib St,worker bees,bomb,graffiti,tragic,Mancunian,The North Will Rise Again,Oldham St,M4 1LE,M4,Madchester
Description: Tony Smith image Alamy RFF68B - This new mural is our Manc tribute to those killed in the Manchester Arena attack.
The huge image of 22 Manchester worker bees has been emblazoned on a wall on the side of the Koffee Pot building in the heart of the Northern Quarter.
Each bee, pictured swarming around a honey heart, represents one of the innocent people killed in the horrific attack.
It has been completed over last weekend by graffiti artist Russell Meeham , also know as ˜Qubek'. As word spread about the work of art taking shape people came past to see what he was doing. When the last bee was competed it drew a round of applause.
Manchester bees mural: Amazing Mancunian tribute to the 22 victims of the terror attack
MEN Bee mural being painted on the side of the Koffee Pot on Oldham Street, Manchester by artist Qubek
View gallery
Two days after the attack, Russ painted the old toilet block in Stevenson Square with bees and two hands joined together in a heart.
It prompted the M.E.N to commission him to create the mural.
Working from atop a cherry picker armed with dozens of cans of spray paint and some music, Russ spent two days creating his masterpiece.
Cafe bosses have previously turned down all requests for it to be used for a mural but kindly agreed to this one.
Speaking as he worked on his mammoth tribute Russ said: It's simple but effective, without being too morbid. Everyone will know why we've painted it and it's nice to have been involved in the project.
MEN Bee mural being painted on the side of the Koffee Pot on Oldham Street, Machester by artist Quebek
MEN Bee mural being painted on the side of the Koffee Pot on Oldham Street, Machester by artist Quebek (Image: Manchester Evening News)
I did a piece following the bombing to put a positive message out there to represent the community in Manchester and a tribute to those who lost their lives that wasn't too morbid.
It got people talking and, from what I saw, brightened a lot of people's days.
84-86 Oldham St, Manchester, North West England, UK, M4 1LE
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,German,Rhine,City Centre,ancient Mogontiacum,ancient,Mogontiacum,historic,town,mogontiacum,steps,Graffiti,Kleine Weigasse 12,art,12,55116,city,centre,street,streets,alley,looking,down,downhill,step,tag,tags,writing,vandals,vandalism,high,higher,part,area,of,history
Description: Tony Smith image Alamy RGGE33 - . This location-led image sets out the social and built context of Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany, in this period view from 2018. The location is represented through Graffiti, Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany, Europe. The location also connects creative streetscape, period property, creative regeneration, conservation architecture, adaptive reuse, community art, visual placemaking, temporary artwork, traditional building, architectural detail, community expression, and conservation interest. The wider contemporary story of visual placemaking now includes public-realm investment alongside regeneration, while policy and investment increasingly consider stronger place identity. Current debate around older urban fabric often combines energy retrofit, vacancy and the practical challenge of heritage-led regeneration. Small period details preserved at Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany may become historically important as commercial occupants, public services, infrastructure and the built environment change, making the image useful for retrospective editorial coverage. The resulting scene connects with art-led regeneration, heritage streetscape, local identity, public realm art, city artwork, local landmark. Associated details include Rhineland Palatinate, Deutschland, street, city. A second layer of description includes contemporary mural, urban visual culture, architectural heritage, historic built environment, mural culture, urban conservation, street-level design, public art, historic environment, and architectural character. Seen from a 2025-onward perspective, temporary urban art also connects with youth culture, graffiti versus commissioned work and efforts aimed at community-led design. This period image preserves the location's physical context within the evolving townscape. This period image preserves the location's physical context within the evolving townscape.
Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NOHO NYC,NYC,New York City,St Marks Place,St Marks Place NYC,street,New York Street,USA,America,City Centre,city,centre,center,city center,New York Travel Tourism,shop,cafe,poster,front,shopfront,inner city,downtown,streetart,spray,spraycan,expression,neighborhood,graffiti,art,Manhattan,East Village,attraction,tourist,tourism
Description: Tony Smith image Alamy RBF065 - . A place-specific photograph preserves the physical context of the recorded location, in a documentary image made in 2018. Within that setting the photograph concentrates on Physical Graffiti Tea Shop, St Marks, Graffitea, East Village, Manhattan, NYC,NY, USA. Other closely connected aspects of the subject are bricks-and-mortar retail, retail decline and renewal, chain-store economy, creative regeneration, tourism economy, consumer retail, food-and-drink business, urban commerce, hospitality premises, destination economy, public art, and shopping district. The wider contemporary story of retail streets now includes changing footfall alongside brand consolidation, while policy and investment increasingly consider mixed-use town centres. Current debate around community artwork often combines regeneration, public-realm investment and the practical challenge of recording temporary artwork. In the mid-2020s, local dining is increasingly discussed through changing visitor patterns and staffing, with attention turning to sustainable tourism. The photograph fixes the recorded location at one identifiable stage in its history, providing a reference against which later refurbishment, closure, demolition, conversion, new ownership or altered public use can be assessed, specifically in relation to Physical Graffiti Tea Shop. The view also records themes involving visitor economy, temporary artwork, illustrated hoarding, visitor destination, high-street commerce, art-led regeneration. Associated details include New York St Marks Place, Eastvillage. A second layer of description includes customer service, commercial frontage, restaurant sector, shopping habits, food culture, city-centre economy, commercial streetscape, hospitality trade, catering trade, and local trading. Seen from a 2025-onward perspective, high-street retail also connects with hybrid working, changing footfall and efforts aimed at bringing empty units back into use.
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NYC,St Marks Place,New York St Marks Place,street,New York Street,USA,America,City Centre,city,centre,center,city center,Eastvillage,Astor Place,mosaic,art,street art,hippy,Manhattan,NY,Street,City,Centre,Lafayette Street,plaza,neighborhood,urban,urban art,graffiti,East Village,NOHO NYC,attraction,tourist,tourism
Description: Tony Smith image Alamy RBF07A - Astor Place is a one-block street in NoHo/East Village, in the lower part of the New York City borough of Manhattan. It runs from Broadway in the west, just below East 8th Street
to Lafayette Street, ending at Alamo plaza. Astor Place is also sometimes used for the neighborhood around the street. It encompasses two plazas at the intersection with Cooper Square, Lafayette Street, Fourth Avenue, and Eighth Street “ Alamo Plaza and Astor Place Station Plaza. It was named for John Jacob Astor (at one time the richest person in the United States), soon after his death in 1848. A $21 million reconstruction to implement a redesign of Astor Place began in 2013
Astor Place, East Village, Manhattan, New York City, NY
Description
Keywords: style,Glasgow Queen St,Scotland,gotonysmith,grafitti,art,vandelism,UK,walking,walks,a,dog street art,Banksy,G1,Queen Street,Glasgow,G1 3DD,yard,alley,alleyway,back entry,boy,dog,stencil,stencils,walk,pasteup,paste up,hoodie,youth,young,adolescent,adolescents,threat,threatening,stencilled,Hip-Hop,HipHop,urban,graffiti
Description: Tony Smith image Alamy HKHW64 - . Made at Queen Street, Glasgow, Scotland, UK, G1 3DD in 2017, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. The image documents Boy walking his dog stencil, Queen Street, Glasgow, Scotland, UK, G1 3DD. Another layer of the photograph includes local history, visual archive, everyday life, temporary artwork, street creativity, visual street culture, changing land use, local character, public art, period detail, mural culture, street-level design, documentary photography, and community art. The wider contemporary story combines local identity, temporary works and the role of murals and stencils in giving creative districts a distinctive identity. For later comparison, the photograph preserves equipment and working practice at Queen Street, Glasgow, Scotland, UK, G1 3DD, details that may look very different after replacement signage. Further associations within the scene are community identity, archival record, public realm, social history, before-and-after reference, graffiti heritage, regional identity, and historical comparison. The combination of Scotland, walking, stencil, Queen, and Glasgow anchors the frame to a recognisable activity, place or moment. Around Queen Street, Glasgow, Scotland, UK, G1 3DD, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Another strand within the photograph is local identity and the blurred boundary between commissioned public art and unsanctioned graffiti as part of the longer story of Queen Street, Glasgow, Scotland, UK, G1 3DD. The setting also helps illustrate regeneration and the role of murals and stencils in giving creative districts a distinctive identity when considered against later change at Queen Street, Glasgow, Scotland, UK, G1 3DD.
Queen Street, Glasgow, Scotland, UK, G1 3DD
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Hblock,H-Block,Bobby Sands MP,Bobby Sands,hero,heroes,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HEW1FB - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,street,Rockmount St,St James Community watch,B49,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HEW1GR - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,The,Kashmir,Bar,Failte,The Kashmir Bar,catholic,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF077 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Bobby Sands MP,Poem,Ten,Brave,1981,Hunger Strikers,Freedom,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDPM5K - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,shop,Souvenir Shop,Sniper,Craigavon,H-Block,H Block,flags,Irish Flag,Ireland Flag,support,the,cause,struggle for freedom,Irish Famine,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Irish Famine,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Irish History,Ireland History,Northern Ireland History
Description: Tony Smith image Alamy HDWTBW - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: GoTonySmith,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,English,British,England,problem,with,problem with,issue with,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,M1,M4,art work,North West England,M1 1JR,painted,murals,stencil,man,woman,stenciled,naked,door,urban,graffiti
Description: Tony Smith image Alamy GJ795B - . Made at the recorded location in 2016, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. The scene records Man & Woman on door, Northern Quarter Artwork, NQ, Manchester, North West England, UK, M1 1JR. The frame also records themes of visual archive, graffiti heritage, creative placemaking, place identity, contemporary mural, changing streetscape, local character, archival record, period detail, public art, public-realm art, mural culture, historical comparison, and creative district. The wider contemporary story combines graffiti policy, public art and the role of murals in defining creative neighbourhoods. Future viewers can use this scene from the recorded location to compare transport arrangements and footfall with whatever follows after different community use. The wider setting retains connections with temporary artwork, street creativity, regional identity, public realm, everyday life, documentary photography, before-and-after reference, and urban artwork. The recorded references to Manchester, Quarter, Artwork, Northern, and Woman preserve clues about how the subject was presented, used or understood at the time. The dated record from the recorded location makes the broader context more tangible. A further contemporary connection is graffiti policy and how regeneration can support and displace informal culture at the same time in a form that can be compared with future views of the recorded location. The wider significance includes gentrification and the blurred line between commissioned public art and unsanctioned graffiti within the real-world context of the recorded location. Another strand within the photograph is tourism and the role of murals in defining creative neighbourhoods within the specific setting of the recorded location. Image GJ795B also preserves another period-specific detail for later comparison.
Description
Keywords: class,mate,mates.classmate,bond,bonding,primary,secondary,name,names,rite,of,passage,Right,school leaver,leaving,sign,signed,remember,remembrance,year6,memories,new,sad,uniform,scribble,schools,out,wrecked,uniform,Rite of passage,Right of passage,school leavers,School memories,schools out,GoTonySmith,sirt,shrt,year,six,6,writing,on,his,top,blue,graffiti,good,luck,celebrating,junior,best,time,times,of,our,lives,end,term,English,England,UK,GB,British,Great,Britain,break,secondary,higher,high,high school,dress,blouse,clothes,top,girl,boy,schoolboy,schoolgirl,schoolboys,schoolgirls,ready,for,big,year 6,Year Six,leaving junior school,best times of our lives,end of term,end of school,junior school leaver,junior school leavers,Schools Out For Summer,Summer break,6 week holiday,6 weeks holiday,wrecked uniform,big school,ready for big school,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy EY7XT7 - . Recorded at England in 2015, the image fixes a recognisable subject and its environment at one point in time, giving later viewers a reliable basis for comparison. The defining feature is School Leavers Shirt with signatures of classmates. The locality and subject together evoke community identity, everyday life, wayfinding detail, changing streetscape, archival record, period detail, local history, contemporary social history, social history, place identity, material sign design, public realm, graphic street detail, and historical comparison. Current relevance extends to commercial branding and public communication, particularly through how ordinary signs become time-specific evidence of language and design. For later comparison, the photograph preserves signage and branding at England, details that may look very different after changed technology. The location also brings in public information notice, historic sign, urban typography, regional identity, before-and-after reference, commercial ephemera, local character, and visual communication. The recorded references to signatures, Leavers, School, classmates, and Shirt preserve clues about how the subject was presented, used or understood at the time. The period setting at England helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. Another strand within the photograph is commercial branding and the way lettering and materials contribute to local visual identity within the specific setting of England. The setting also helps illustrate visual identity and how signs can document commercial, social or regulatory change as part of the longer story of England. The image also provides a reference for street design and how signs can document commercial, social or regulatory change when considered against later change at England. The frame retains period character before later change alters the scene.
England
Description
Keywords: UK,wall,graffiti,painted,1xtra,live,BBC,radio,one,xtra,#bigupliverpool,2013,2014,2015,Mersey,Merseyside,GoTonySmith,Buy Pictures of,Buy Images Of,in the,scouse,spray,big,up,city,centre,#BigUpLiverpool,BigUpLiverpool,BBC radio,1XtraLive,Oct,October,promotion
Description: Tony Smith image Alamy DRH7RE - . Big Up Liverpool, painting in the City centre, Merseyside, England, UK. Photographed at Liverpool, Merseyside, England, UK. The photograph was taken on 05 October 2013. This editorial stock image documents the subject as it appeared at that time, preserving a clear record of the place, its appearance and the everyday details surrounding it. Signage, lettering, logos, numbers or other visible information form an important part of the record, helping identify the subject and capture contemporary branding or public messaging. The scene is closely associated with Big Up Liverpool painting in City centre, Big Up Liverpool, City centre, painting, street, art, scouser, culture, paint and wall, adding specific subject detail and useful search context without losing the documentary focus on the main subject. The photograph gives particular emphasis to signage, lettering, public information, branding or graphic communication in a real-world setting. It can support editorial features about wayfinding, advertising, local identity, warnings, public information, business branding, typography, street design and the visual language of towns and cities. Words, symbols, colours, materials and the physical setting of the sign provide useful documentary detail for researchers interested in how information was presented at the time. Because signs and branding are frequently replaced, repainted or removed, the image also has useful archive and social-history value. Search themes include signs, lettering, typography, advertising, wayfinding, public information, warnings, branding, street graphics and local identity. Because signs are frequently replaced or repainted, a clear dated photograph of wording or graphics can acquire strong archive and social-history value. The combination of a named subject, precise location and capture date gives the image particular value to editors who need a real, identifiable place rather than a generic illustrative photograph.
Liverpool, Merseyside, England, UK
Description
Keywords: Inner,City,Manchester,Graffiti,New,wakefield,street,under,railway,arches,gotonysmith,girl,lady,drawing,femail,door,walking,in,woman,entry,entrance,GB,UK,Great,Britain,British,graffitti,grafitti,love,will,win,hummingbird,hummingbirds,ear,ears,earrings
Description: Tony Smith image Alamy CFEFH8 - . Love Will Win - Inner City Manchester Graffiti New Wakefield street under railway arches, England, UK, M1. Photographed on 10 March 2012. The recorded location is New Wakefield street, Manchester, Lancashire, England, UK / Great Britain. From a heritage perspective, british agriculture has repeatedly adapted to mechanisation, changing markets and environmental policy
Tractors, fields, cereal crops and allotment vegetables each represent different scales of food production, while also documenting seasonal work and rural landscapes. Looking at the subject's development, art in public and historic settings adds another layer to the built environment
Sculpture, mosaic, painting and street art can interpret heritage, provoke debate, memorialise communities or create landmarks, and photographs preserve works that may later change or disappear. In the longer view, britain's railways reshaped towns, industry and passenger travel from the nineteenth century onwards, creating a dense network of stations, goods yards, signalling infrastructure and long-distance routes
Surviving buildings, signs and operating equipment now document both railway heritage and continuing public transport. As of 2026, current agricultural debate combines food production with environmental land management, biodiversity and climate adaptation
Photographs of crops and cultivation therefore have both traditional rural and contemporary sustainability relevance. For the 2026 context, public art and murals remain important to place-making, tourism and regeneration, particularly in city districts where street art has become part of the visitor economy
They also raise questions about conservation, ownership, temporary work and the rapid redevelopment of urban neighbourhoods. Useful alternative terminology includes farming, horticulture, grow your own, arable farming, vegetable growing, rural economy, farmland, sustainable agriculture, food security, seasonal crop, and artwork.
New Wakefield street, Manchester, Lancashire, England, UK / Great Britain
Description
Keywords: Garfield St,Community Confidence,Campbell,streets,City Centre,city,centre,Northern Ireland,UK,GoTonySmith,HotpixUK,graffiti,street,art,soup,tins,tin,red tin,think,resist,artists,artist,original,Andy Warhol,homage,Royalist,Republican,tinned,can,canned,alternative,political,andy warhol campbell soup
Description: Tony Smith image Alamy HE7MDX - . This authentic period view of Garfield street,Belfast,County Antrim,Northern Ireland,UK in 2011 preserves the main subject alongside smaller contextual details that can acquire greater historical value as places and uses change. The image documents Community Confidence, Campbells,soup tin, graffiti in Belfast Garfield St City Centre, Northern Ireland, UK. A broader reading of the photograph includes creative placemaking, social history, historical comparison, urban artwork, stencil art, contemporary mural, changing streetscape, before-and-after reference, changing land use, local character, visual street culture, documentary photography, public art, and visual archive. In present-day coverage, the subject reaches into graffiti policy and public art, not least because of the role of murals and stencils in giving creative districts a distinctive identity. Future viewers can use this scene from Garfield street,Belfast,County Antrim,Northern Ireland,UK to compare materials and architectural details with whatever follows after different community use. The surrounding story also includes contemporary social history, public-realm art, place identity, public realm, everyday life, community identity, graffiti heritage, and period detail. Details involving Belfast, Garfield, Northern, Ireland, and Community make the image more specific than a generic view and strengthen its local or historical value. For Garfield street,Belfast,County Antrim,Northern Ireland,UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Another strand within the photograph is graffiti policy and the role of murals and stencils in giving creative districts a distinctive identity within the real-world context of Garfield street,Belfast,County Antrim,Northern Ireland,UK. The scene captures a local visual benchmark as part of Garfield street,Belfast,County Antrim,Northern Ireland,UK's history.
Garfield street,Belfast,County Antrim,Northern Ireland,UK
Description
Keywords: HousingITguy,Project365,2nd 365,HotpixUK365,Tone Smith,GoTonySmith,365,2365,one a day,Tony Smith,Hotpix,Wood street,Wood St,Taunton,Somerset,art,Graffiti
Description: Tony Smith image Flickr 4625530145 - 'If you are on Twitter, do add a follow there and I will follow back in return mobile.twitter.com/HotpixUK
Have a look at my archived photography, from ten years back at www.flickr.com/photos/hotpixuk/
All images (c) Tony Smith - @HotpixUK - No images to be used without express permission',
![iPod Shuffle - Abandon [ This Is The Last Time I'll Abandon You ] 8533887171 spooky,man,walking,through,an,underpass,under,pass,b/w,black,white,black and white,rudheath,walkway,walk,way,Northwich,Cheshire,A556,spray,paint,England,UK,menace,danger,This is the last time,I will abandon you,this is the last time I will abandon you,grafitti,graffiti,AFOTANDO](https://live.staticflickr.com/8519/8533887171_86c9dbd9fe_o.jpg/)
Description
Keywords: spooky,man,walking,through,an,underpass,under,pass,b/w,black,white,black and white,rudheath,walkway,walk,way,Northwich,Cheshire,A556,spray,paint,England,UK,menace,danger,This is the last time,I will abandon you,this is the last time I will abandon you,grafitti,graffiti,AFOTANDO
Description: Tony Smith image Flickr 8533887171 - 'That Petrol Emotion - 'Abandon' - Play this track here.
Follow me on Twitter twitter.com/HotpixUK
\u00bfWhats this iPod Shuffle set all about? Read about it here
A cracking track from 1988's 'That Petrol Emotion'. They formed in 1984 from the ashes of the Derry Hitmakers, Bam Bam and the Calling and The Undertones. It was formed by guitarist John O'Neill and second guitarist Raymond Gorman who DJ'd together at the Derry 'Left Bank' club. Drummer and friend Ciaran McLaughlin joined next after having relocated from Derry to London, followed by John's brother and Undertones lead guitarist Damian O'Neill who played bass from 1985 until 1988 upon John's departure.
That Petrol Emotion themselves were also far more political and outspoken than the Undertones. 'Abandon' released on Virgin Records in March 1990 in the UK reached no. 73 in the single charts.
Checkout more w=33062170@N08\' target=\'_blank\'>ipod music from my photostream.
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08 so I can follow all your new uploads.
\u00bfWhats this iPod Shuffle set all about? Read about it here
(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC',
Description
Keywords: george,osbourne,chancellor,shadow,opposition,manchester,UK,tatton,knutsford,tory,candidate,conservative,sign,general,election,2010,may,6th,true,blue,majority,cheshire,electorial,parliament,westminster,government,britain,british,politition,politicion,politic,politics,taton,graffitti,grafitti,graffiti,graffittied,street,art,Labour,Liberal,Democrats,Green,Party,libdems,lib,dems,Hotpicks,hotpics,hot,pics,pix,picks,politician,hotpix!
Description: Tony Smith image Flickr 4526888778 - 'For goodness sake someone sort the economy (!)
I spotted this on the way to work (and stopping to snap it nearly made me late!).
Check Gideon out at en.wikipedia.org/wiki/George_Osborne . At least his eyebrows are co-ordinated with the hair on his head :-)
I did not notice this yesterday, mabe it has been added after last nights TV debate, who knows. I did also see similar decorations on election posters in Northamptonshire earlier in the week. So we might see more of this across the UK, keep your eyes peeled.
Checkout more of green and pleasant Cheshire from my photostream w=33062170@N08&
m=tags\'>www.flickr.com/search/?q=cheshire&
w=33062170@N08&
...
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08
(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC 07092182899',
Description
Keywords: urban,art,grafitti,graffiti,graffitti,poole,town,district,england,english,sea,side,seaside,ipod,music,hotpix!,#tony,#smith,#tonysmith,#tonysmithhotpix,#tonysmithotpix
Description: Tony Smith image Flickr 4819024362 - 'Play a track from this album here.
?Whats this iPod Shuffle set all about? Read about it here
Physical Graffiti is the 6th album by Led Zeppelin. I find it difficult to pick just one track from this spectacular double album.
It was released on 24 February 1975. Recording sessions for the album were initially disrupted when John Paul Jones considered leaving the band. After reuniting at Headley Grange, the band wrote and recorded eight songs, the combined length of which stretched the album beyond the typical length of an LP. This prompted the band to make Physical Graffiti a double album by including previously unreleased tracks from earlier recording sessions.
Physical Graffiti was commercially and critically successful
the album is 16 times platinum (though this signifies sales of 8 million copies, as it is a double album) in the United States alone, and has come to be regarded as one of Led Zeppelin's defining works. The album is ranked highly on several prominent best album or best rock album lists of all time.
--------------------------------------------------
Fleetsbridge Underpass Grafitti, Poole, Dorset UK
This brilliant piece of colourfull grafitti and tagging stretches ten slabs of concrete in an underpass adjacent to a skatepark. It is a joiner of five wide images.
This was a youth arts project to design a new mural for the Fleetsbridge Skate Park, Creekmoor. west of Poole, under the A35
The final design was painted at the skate park around Easter 2007, followed by a celebration event on the final day to launch the new mural. The Mayor of Poole, Cllr Mrs Judy Butt turned out with other supporters of this project to see the finished mural and congratulate everyone involved for their hard work.
This great project was funded by the Community Foundation , Borough of Poole and Wave Arts Education Agency, and in partnership with the Creekmoor Community Association and Millennium Volunteers. The project brought in professional artist Felix Braun to conduct workshops for 120 young people from various schools and youth clubs across Poole.
Three young people gained a Youth Arts Award qualification whilst working on their project, which they can use towards future youth arts careers. Good for them !
Amazingly on the end of the bypass wall is a council sign stating 'No Grafitti'.
NB: Like all the images on this stream, full size prints up to 30x20inches are available, Check my profile for how to contact me.
Checkout more w=33062170@N08\' target=\'_blank\'>urban images from my photostream.
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08 target='_blank' so I can follow all your new uploads.
(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC',
Description
Keywords: Tunnel,strangers,BW,toned,hand,colored,color,colour,Latchford,danger,dangerous,walk,night,path,way,pathway,Warrington,graffitti,grafitti,graffiti,dirty,black,white,mono,monochrome,partial,mixed,selctive,colores,Hotpicks,hotpics,hot,pics,pix,picks,interesting,place,places,hotpix!
Description: Tony Smith image Flickr 4272766026 - 'More tunnel goings on www.flickr.com/photos/hotpixuk/4059561024/
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08
(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC 07092182899',
Description
Keywords: Thethe,Matt,johnson,man,male,bloke,lad,grafitti,graffiti,graffitti,door,way,doorway,sepia,replay,shirt,clothes,clothing,UK,tonysmith,tony,smith,hotpix,tonysmithhotpix,manchester,england,Northern,quarter,ancoats,north,west,northwest,Concrete,Penguin,Band,@hotpixuk
Description: Tony Smith image Flickr 6139633525 - 'The The - Slow Emotion Replay - Play this track here.
Follow me on Twitter twitter.com/HotpixUK
\u00bfWhats this iPod Shuffle set all about? Read about it here
Forming a soundtrack to much of my 1980's, 'The The' are an English musical and multimedia group that have been active in various forms since 1979, with singer/songwriter Matt Johnson being the only constant band member.
In 1993, the five-piece line-up issued the album Dusk containing this single. It debuted at no 2 in the UK and spun off three Top 40 singles in the UK, led by 'Dogs of Lust'. A world tour followed, the Lonely Planet tour, at which point the band's line-up was reshuffled
Johnny Marr and James Eller left, and were replaced by Atlanta based guitarist Keith Joyner and New York bassist Jared Nickerson, respectively.
Also added was Boston harmonica player Jim Fitting, who auditioned in New York in early 1993. The version of their hit 'This Is The Day' featuring Jim Fitting was often dubbed 'That Was The Day'. Palmer bowed out partway through the tour and was replaced by ex Stabbing Westward drummer Andy Kubiszewski.
A full length film, directed by long time collaborator Tim Pope, was made for this album. From Dusk Til Dawn was shot in New Orleans and New York and along with Johnson and Johnny Marr also featured various characters from the New York underground scene such as sexologist Annie Sprinkle, writer and raconteur Quentin Crisp, Guardian Angels founder Curtis Sliwa, and porn star Rick Savage amongst many other carnival characters.
\u00bfWhats this iPod Shuffle set all about? Read about it here
Checkout more w=33062170@N08\' target=\'_blank\'>faces in places from my photostream.
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08 so I can follow all your new uploads.
\u00bfWhats this iPod Shuffle set all about? Read about it here
(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC
()',
Description
Keywords: class,mate,mates.classmate,bond,bonding,primary,secondary,name,names,rite,of,passage,Right,school leaver,sign,signed,remember,remembrance,year6,memories,new,sad,uniform,scribble,schools,out,wrecked,uniform,Right of passage,school leavers,School memories,GoTonySmith,sirt,shrt,year,six,6,writing,on,his,top,blue,graffiti,good,luck,celebrating,junior,best,time,times,of,our,lives,end,term,English,England,UK,GB,British,Great,Britain,break,secondary,higher,high,high school,dress,blouse,clothes,top,girl,boy,schoolboy,schoolgirl,schoolboys,schoolgirls,ready,for,big,year 6,Year Six,leaving junior school,best times of our lives,end of term,end of school,junior school leaver,junior school leavers,Schools Out For Summer,Summer break,6 week holiday,6 weeks holiday,wrecked uniform,big school,ready for big school,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy EY7XT2 - Photo shows Schools out - School Leavers Shirt, with signatures of leaving classmates, a rite of passage in Great Britain. The photograph is useful as a documentary record of a real place, object or public-facing scene. It can support local history, travel, social observation, news features and web articles where authentic context matters more than a polished studio image. The supplied workbook does not give a precise location, so the image should be treated as a concept or documentary subject unless the location can be verified separately. Visible wording, branding or signage noted in the supplied caption should be kept as search evidence because it helps buyers looking for specific editorial concepts, public messages, commercial streets, transport detail or local identity. The supplied caption gives the main editorial context
visible weather, signage and surrounding detail should be checked on upload. It should work for editorial buyers needing authentic, non-staged British or travel imagery for news, magazine, blog, local government, heritage, housing, transport, tourism, retail, public policy or social commentary use. The caption should be checked against the visible photograph before upload so that any readable signs, weather, time of day and people context are accurately reflected without overstating facts not shown in the image. The strongest sales value is the combination of named subject, real location and everyday documentary style, giving picture editors a flexible image that can sit alongside features, opinion pieces, explainers, historical retrospectives and local news. Search relevance is helped by including concise place names, visible brand or wording, functional subject terms, and wider editorial concepts such as public realm, consumer behaviour, heritage, travel, leisure and community life where they genuinely match the picture.
UK
