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The Stagg Tagger 60 (SLI-MHBTAGG60) is a gobo moving head with 60-watt COB LED, 7 colors, 7 gobos LED: 1 x 60 watts, white Color wheel: 7 color...

Tag Attacher Kit features a unique design. Revolutionary soft, nonslip cushion comfort grip is ideal for quick, convenient tagging of apparel and soft goods. Kit includes a model 3020 lightweight pistol-gripped tag attacher, 500 Tagger Tail fasteners and 500 standard white tags.

For almost a decade Peter Quezada, a prolific self-taught artist, painted murals and lettering on buildings and retaining walls in neighborhoods northeast of downtown Los Angeles. He refers to his work as a “graffiti deterrent” or a “substitute for graffiti,” and he targets sites that are favorites of taggers and gang graffiti writers. Often he enlists their assistance and designs his murals to appeal to these youths as well as to discourage them from participating in antisocial behavior. Highlighting the interplay of contemporary life, mass-media images that confront the public, and the use of physical space in the city landscape, Chicano Graffiti and Murals shows how such art as Quezada's has become the signature of modern urban culture.

A sweeping history of Los Angeles told through the lens of the many marginalized groups—from hobos to taggers—that have used the city’s walls as a channel for communication Graffiti written in storm drain tunnels, on neighborhood walls, and under bridges tells an underground and, until now, untold history of Los Angeles. Drawing on extensive research within the city’s urban landscape, Susan A. Phillips traces the hidden language of marginalized groups over the past century—from the early twentieth-century markings of hobos, soldiers, and Japanese internees to the later inscriptions of surfers, cholos, and punks. Whether describing daredevil kids, bored workers, or clandestine lovers, Phillips profiles the experiences of people who remain underrepresented in conventional histories, revealing the powerful role of graffiti as a venue for cultural expression. Graffiti aficionados might be surprised to learn that the earliest documented graffiti bubble letters appear not in 1970s New York but in 1920s Los Angeles. Or that the negative letterforms first carved at the turn of the century are still spray painted on walls today. With discussions of characters like Leon Ray Livingston (a.k.a. “A-No. 1”), credited with consolidating the entire system of hobo communication in the 1910s, and Kathy Zuckerman, better known as the surf icon “Gidget,” this lavishly illustrated book tells stories of small moments that collectively build into broad statements about power, memory, landscape, and history itself.

A graffiti artist and tagger by nature, Barry McGee has in the last few years taken a stealth, guerilla art form, one that is typically the subject of complaint, arrest, and general unappreciation, and transformed it into a well-received medium for display in museum and commercial gallery spaces. His drawings, paintings, and mixed-media installations take their inspiration from contemporary urban culture, incorporating elements such as empty liquor bottles and spray-paint cans, tagged signs, wrenches, and scrap wood or metal into overwhelming, space-transforming interior worlds. Though McGee views graffiti as a vital method of communication, one that keeps him in touch with a larger, more diverse audience than can be reached through the traditional spaces of galleries or museums, he makes fine use of traditional exhibition spaces, using them not only to communicate a subcultural point of view to gallery goers but also to point out ways in which space can be reclaimed. Barry McGee brings together the artist's graffiti work, paintings, installations, and photography, and is published on the occasion of his exhibition at the Fondazione Prada, in Italy. Included is an interview with McGee by Germano Celant, senior curator of contemporary art at the Solomon R. Guggenheim Museum, New York.

Jack Tagger is a frustrated journalist. His outspoken views have relegated him to the obituary page, with his byline never again to disgrace the front page. But Jack has stumbled across a whale of a story that might just resurrect his career . . . James Stomarti, infamous frontman of rock band Jimmy and the Slut Puppies, has died in a diving accident and Jack harbours suspicions that the glamorous pop starlet widow may have had a vested interest in her husband's untimely death. It all smells a little too fishy. Aided and abetted by his rather sexy (if unnervingly ambitious) young editor, Emma, Jack sets out to in pursuit of the truth - and a nice juicy story. But of course nothing is ever straightforward and with murderous goons on his tail, brutal internal politics at the paper and a paranoia about death, Jack is struggling to keep his head above water. Was Jimmy Stomarti murdered? Is someone trying to kill off the Slut Puppies one by one? And what significance can a dead lizard named Colonel Tom possibly have? This is one book you'll kill to get your hands on.

In his first case in private practice, Oregon lawyer Cal Claxton came to the aid of a tagger calling himself Picasso, a Banksy-like figure in Portland. Dividing his time between a wine-country town and the city, the ex-L.A. prosecutor now encounters another urban teen at risk, Kelly Spence, also a tagger. Using climbing skills learned from her much-loved deceased father, a mountaineer, Kelly places angry tags in visible, hard- to-reach places. A runaway from an abusive foster home and alternative high school student, she lives with her father's former girl friend. Kelly is four stories up at 3:00 one morning when she looks down and witnesses the brutal murder of a woman in the parking lot below. Unluckily the killer spies her but Kelly escapes. The police soon seek her as a witness. Desperate to stay anonymous, she seeks help from someone on the street she trusts. Too soon she finds his mutilated body and becomes even more afraid. Cal is drawn into the case by his volatile Cuban friend and landlord who is devastated by the murder: the dead woman had just become his fiancée. Her ex is the obvious suspect, but Cal's instincts lead him in a different direction where he will run into Kelly. Can he get her to talk, or will the killer find her first?

Once a hotshot investigative reporter, Jack Tagger now bangs out obituaries for a South Florida daily, "plotting to resurrect my career by yoking my byline to some famous stiff." Jimmy Stoma, the infamous front man of Jimmy and the Slut Puppies, dead in a fishy-smelling scuba "accident" may be just the stiff Jack needs-if only he can figure out what happened. Standing in the way are [among others] an editor who wants Jack to "break her cherry," Stoma's ambitious pop-singer widow, and the soulless, profit-hungry newspaper owner Jack once publicly humiliated. As clues from Stoma's music give Jack Tagger the chance to trade obits for a story that could hit the front page, murder gives his career a new lease on life.

A graffiti artist and tagger by nature, Barry McGee has in the last few years taken a stealth, guerilla art form, one that is typically the subject of complaint, arrest, and general unappreciation, and transformed it into a well-received medium for display in museum and commercial gallery spaces. His drawings, paintings, and mixed-media installations take their inspiration from contemporary urban culture, incorporating elements such as empty liquor bottles and spray-paint cans, tagged signs, wrenches, and scrap wood or metal into overwhelming, space-transforming interior worlds. Though McGee views graffiti as a vital method of communication, one that keeps him in touch with a larger, more diverse audience than can be reached through the traditional spaces of galleries or museums, he makes fine use of traditional exhibition spaces, using them not only to communicate a subcultural point of view to gallery goers but also to point out ways in which space can be reclaimed. Barry McGee brings together the artist's graffiti work, paintings, installations, and photography, and is published on the occasion of his exhibition at the Fondazione Prada, in Italy. Included is an interview with McGee by Germano Celant, senior curator of contemporary art at the Solomon R. Guggenheim Museum, New York.