Propaganda: The Philadelphia Mural Arts Program and Philadelphia Anti-Graffiti Network influence public opinion to associate graffiti

with vandalism through a not-for-profit vertical integration encompassing enforcement, production and distribution. The propaganda places graffiti artists as social deviants. Graffiti, in its rawest form, has existed since the dawn of civilization. The appeal to authority: The PMAP must commission public art for art to qualify as art. Art without the PMAPs permission becomes an instantaneous PAGN target for removal, regardless of medium, aesthetic richness or subject matter. The PMAP oversees all Philadelphia public art. Background: In 1984, the PMAP began, initially branching off from the PAGN. Former Philadelphia mayor Wilson Goodes political platform strongly opposed graffiti. Replacing graffiti with a more traditional school of public art provided a more effective strategy. In 1996, former Philadelphia mayor Ed Rendell appointed Jane Golden as director of the PMAP. Golden founded the Philadelphia Mural Arts Advocates, a 501 not-for-profit fundraising organization for the PMAP. According to PMAAs 2011 annual report, the not-for-profits revenues and support totaled more than $8 million. The 2011 net assets amounted to more than $4.5 million. PMAP holds authority over public art. An ordinary independent Philadelphia artist has to jump through hoops to gain the citys permission to paint a wall, although the city would most likely deny the request. Position: PMAP positions itself as a cure to graffiti, or street art. Messages:

PMAP messages hail Philly as a City of Murals. The message maintains a distinction between murals and graffiti. The propaganda claims to incorporate local graffiti artists applying their raw talents into legal murals for the citys greater good a representation of Philly culture. Public art outside PMAP work emulates graffiti status, a challenge to the PAGNs authority.

The PAGNs message indoctrinates the eradication of graffiti vandalism through coordinated efforts of city agencies, business organizations and community groups.

The propaganda plan: The PMAPs first objective (I) maintains the position as the citys graffiti remedy. Objective (II) involves maintaining an all-Philly image. Objective (III) erodes Philadelphias graffiti culture. Objective (IV) claims sympathy for the under privileged graffiti artist to avoid a smear campaign persona. Objective Is first strategy (I.I) maintains the publics association between PMAP and PAGN. The second strategy (I.II) condemns graffiti under low art and hails commission murals as high art. The third strategy (I.III) eliminates both sloppy and aesthetically pleasing street art to reduce mixed public opinions regarding graffiti. Objective IIs primary strategy (II.I) transcends Philly culture into all media, including art pieces except Phillys graffiti pastime. The second strategy (II.II) entails teaming up with local celebrities. Objective IIIs first strategy (III.I) influences public opinion to associate graffiti with vandalism. The second strategy (III.II) coordinates artists and community members to paintby-numbers from a template pressed onto a wall to reduce ideas confli cting with PMAPs artistic vision. The third strategy (III.III) involves the PMAP youth programs raising kids to avoid painting in graffiti style. Objective IVs main strategy (IV.I) publicly proclaims the artistic gift of graffiti artists. Objective I:

Strategy I.Is first tactic places the PMAPs name and hyperlink on the PAGNs website. The second tactic redundantly mentions PMAPs roots with the PAGN on PMAPs website. The third tactic maintains graffiti must be eliminated throughout the websites and newsletters. Strategy I.IIs tactic involves reminders of graffitis deteriorating effects throughout the newsletter, website and annual report. Strategy I.IIIs tactic involves the PAGN removing the graffiti within 24 hours. Objective II: Strategy II.Is first tactic involves featuring Philadelphias demographic within the murals. The second tactic features the PMAP residency artists from Europe wearing Phillies gear and publishing their photos into the newsletter. The third tactic entails the newsletter stating PMAP has Philadelphia artists on staff and does not state the amount of nonPhiladelphia artists on staff. The fourth tactic features local lingo within the mission statement stating Yo, This is Fun! We're from Philly. We're for Philly. And we're having a hell of a good time. Strategy II.IIs tactic entails teaming up with The Roots and publishing the partnership into the newsletter. Objective III: Strategy III.Is tactic involves supporting stronger laws and stronger punishments against graffiti. Strategy III.IIs main tactic minimizes creative input into mural projects. PMAP asks for creative input, but the PMAP has the final say and not the artist directing the project. The second tactic entails pre-painting the mural on a parachute and then transferring the outline to the wall for the artists and community members to finish. The third tactic eliminates ideas from PMAPs former graffiti artists suggesting freehand style long strokes or any graffiti calligraphy.

Objective IV: Strategy IV.Is tactic uses the newsletters to state Golden connected with local graffiti artists and admired their raw talent.

Issues: PMAP and PAGN work together to eliminate graffiti artists and other street art competitors. The PMAP-PAGN continuum monopolizes Philadelphia art - PAGN as an enforcer and PMAP controlling the production and distribution of the citys public art. The murals represent only a small portion of Philadelphia creativity. High profile artists from around the globe design most of Philadelphias murals, while the subgenre graffiti style falls to an ethnocentric bashing from elite artists. The PMAP does immensely help the city, but it also creates a glass ceiling for independent artists, especially graffiti style artists.