Leo’s first memory is hearing his father’s voice. I have a headcanon that Splinter was constantly speaking to his sons while they were infants, even singing to them. Reciting old folktales, reading snippets from newspaper scraps, telling stories of Japan, half humming/half singing whatever he could remember of catchy pop songs he had heard from car radios as they passed…Leo can faintly recall some of these moments from his childhood, and it always brings a smile to his face.
One memory that stands out the most to Mikey is the first time Donatello managed to get a VCR player to work. Splinter had brought it in from one of his trips to the surface to look for food and supplies, and Donnie spent ages fixing it up. It was his first major project. Mikey clearly recalls the day Don came running to him, tripping over his over-sized clothing saying “Mike, you’re gonna love this!” And indeed he did. It was the birth of his obsession with pop culture and the surface world. He and his brothers kept a copy of “Surf Ninjas” until the tape was completely degraded.
Raph’s oldest and fondest memory is when his father came to him with a pad of paper and a pencil he had found near a storm drain. Raph has just had one of his angry outbursts and instead of scolding him, Splinter explained to him that art was a way of expressing his anger in a less explosive way. He still remembers how proud his dad was when he gave him that first drawing. Though his preferred artistic medium has changed over the years (pencil to carving to graffiti to knitting…), he still looks back on that moment with happiness.
What comes to mind for Donnie’s earliest memory is the time he found a watch in the sewer. Having very little experience with any technology at this time in his life, the small gadget was incredibly exciting to him. Like most tinkerers and engineers, he was fascinated by the individual components and spent many nights under what little light filtered in from the streets above taking the watch apart and putting it back together. This obsession grew and spread to other gadgets and machines. Though it will never tell time again, he still has the watch as a lucky token.
A couple of trees in Shanghai became a local delight after they were draped in yarn knittings last Thursday. However, the beauty and fame didn’t last long, as the Shanghai government removed the much adored accessories on Wednesday.
The phoenix trees on Nanchang road were “yarn bombed” by a group of expats, the Shanghai Daily reported. Yarn bombing, also known as graffiti knitting or “kniffiti,” is a kind of street art that uses colorful displays of knitted yarn on public facilities. The movement is believed to have originated in Texas, US, in 2005 after Magda Sayeg first covered the door handle of her boutique with a knitted cozy.
As the colorful outfits successfully stunned passersby the next morning, netizens also showed their admiration towards the creative works, saying “they added beauty to the city.”
However, on Wednesday, one week after the incident, the city government removed the outfits, citing concerns that they would cause harm to the trees’ healthy growth.
This decision has triggered heated discussions online. While some say the government made the right decision, others are arguing that the city should be more open to creative minds.
“I can understand the government’s concerns, but maybe they could have kept the decorations up longer. They made the street appear more dynamic,” commented @Shiqiangqiang.
“The sweaters that fit human bodies may not suit the trees as well,” argued @Yueluoxishanby.
Why do you dislike yarn bombing? Sorry if this is an annoying question, you're just the first person I've ever known of to express dislike for it and it would be interesting to know.
Yarn bombing is also known as graffiti knitting, and it clearly appropriates the art of graffiti (which is seen as lowly, dirty, criminal, etc.) and attempts to turn it into something more ‘acceptable’/’family-friendly’ (read: white).
Most, if not all, yarn bombing individuals/groups are affluent and white and do their yarn bombing in rich/gentrified neighborhoods.
There’s a yarn bombing group that likes to call themselves ‘Knitta Please’ or ‘Knitta’ for short. They’re white.
Other individuals/groups like to give themselves cutesy little punny ‘gang’ names.
The person really known for spreading bombing in graffiti is a Black man, who used the tag ‘CORNBREAD’. And a majority of folks involved in the birth/history of graffiti were men of lower socioeconomic status (especially men of color, and especially Black men). They are not given credit.
These yarn bombers don’t have to deal with the same things that graffiti artists deal(t) with. They don’t have to worry about being chased/killed by cops. They don’t have to worry about turf wars. They don’t have to worry about their safety when/if they ‘get caught’. Their privileges make them harmless. All they get as backlash is ‘they should’ve asked before they did it’ (which defeats the purpose but whatever).
And a lot of yarn bombing is focused on ‘cozying’ objects. Knitting around a tree, a utility pole, a bicycle rack, etc. They are using and wasting resources that could be used to make and provide warm clothing for people who need it.
“Some engage in yarn bombing as a fun and creative way to use up left over yarn, others consider it an urban intervention to personalize otherwise cold and impersonal spaces or to make socio- political statements. Humor is often a major component of yarn bombing, which by its nature embodies contradictory idiosyncrasies within itself.
In its seemingly odd juxtaposition of knitting and graffiti, often associated with opposing concepts such as female, granny, indoors, domestic, wholesome and soft vs. male, enfant terrible, outdoors, public, underground and edgy, the practice of yarn bombing redefines both genres. Yarn bombing transforms knitting from a domestic endeavor to public art, recontextualizing both knitting and graffiti, both of which are marginalized creative endeavors that fall outside ‘high art.’”