A The word ‘graffiti’ derives from the Greek word graphein, meaning to write. This evolved into the Latin word graffito. Graffiti is the plural form of graffito. Simply put, graffiti is a drawing, scribbling or writing on a flat surface. Today, we equate graffiti with the ‘New York’ or ‘Hip Hop’ style which emerged from New York City in the 1970s. Hip Hop was originally an inner-city concept. It evolved from the rap music made in Brooklyn and Harlem in the late 1960s and early 1970s. Donald Clarke, a music historian, has written that rap music was a reaction to the disco music of the period. Disco was centred in the rich, elitist clubs of Manhattan and rap emerged on street corners as an alternative. Using lyrical rhythms and ‘beat boxing’, the music was a way to express feelings about inner-city life. Hip Hop emerged as turntables began to be used to form part of the rhythm by ‘scratching’ (the sound created by running the stylus over the grooves of an LP). As Hip Hop music emerged so did a new outlet for artistic visibility. Keith Haring began using posters to place his uniquely drawn figures and characters in public places. Soon he began to draw directly on subway walls and transit posters. The uniqueness of his drawings eventually led to their being shown in galleries and published in books and his art became ‘legitimate’.

B At about the same time as Keith Haring, a delivery messenger began writing ‘Taki 183’ whenever he delivered documents. Soon his name was all over the city. Newspapers and magazines wrote articles about him and Keith Haring, and soon both became celebrities. This claim to fame attracted many young people, especially those involved with rapping, and they began to imitate ‘Taki 183’, as a means to indicate the writer’s presence, i.e. the age-old statement of I was here. Graffiti was soon incorporated int the Hip Hop culture and became a sort of triad with rapping and breakdancing. Breakdancing has since lost much of its initial popularity, while rapping has emerged as a major style in American music. New York City was inundated with graffiti during the late seventies and early eighties, but as media coverage faded so did the graffiti. Then, in the mid-eighties, a national TV programme did a graffiti story and set off a graffiti wildfire which has since gone global.

C In the past, graffiti artists usually worked alone, but the size and complexity of pieces, as well as safety concerns, motivated artists to work together in crews, which are groups of graffitists that vary in membership from 3 to 10 or more persons. A member of a crew can be ‘down with’ (affiliated with) more than one crew. To join a crew, one must have produced stylish pieces and show potential for developing one’s own, unique style. A crew is headed by a king or queen who is usually that person recognised as having the best artistic ability among the members of the crew. One early crew wrote TAG as their crew name, an acronym for Tuff Artists Group. Tag has since come to mean both graffiti writing, ‘tagging’ and graffiti, a ‘tag’. Crews often tag together, writing both the crew tag and their own personal tags. Graffiti has its own language with terms such as piece, toy, wild-style, and racking.

D At first pens and markets were used, but these were limited as to what types of surfaces they worked on, so very quickly everyone started using spray paint. Spray paint could mark all types of surfaces and be quick and easy to use. However, the spray nozzles on the spray cans proved inadequate to create more colourful pieces. Caps from deodorant, insecticide, and other aerosol cans were substituted to allow for a finer or thicker stream of paint. As municipalities began passing graffiti ordinances outlawing graffiti implements, clever ways of disguising paint implements were devised. Shoe polish, deodorant roll-ons and other seemingly innocent containers were emptied and filled with paint. Markers, art pens and grease pens obtained from art supply stores were also used. In fact, nearly any object which can leave a mark on most surfaces is used by taggers, though the spray can is the medium of choice for most taggers.

E As graffiti has grown, so too has its character. What began as an urban lower-income protest, graffiti now spans all racial and economic groups. While many inner-city kids are still heavily involved in the graffiti culture, taggers range from the ultra-rich to the ultra-poor. There is no general classification of graffitists. They range in age from 12-30 years old, and there are male and female artists. One tagger recently caught in Philadelphia was a 27-year-old stockbroker who drove to tagging sites in his BMW. Styles have dramatically evolved from the simple cursory style, which is still the most prevalent, to intricate interlocking letter graphic designs with multiple colours called ‘pieces’ (from master-pieces). Gang markings of territory also fit the definition of graffiti, and they mainly consist of tags and messages that provide ‘news’ of happenings in the neighbourhood.

F Graffiti shops, both retail and on-line, sell a wide variety of items to taggers. Caps, markers, magazines, T-shirts, backpacks, shorts with hidden pockets, even drawing books with templates of different railroad cars can be purchased. Over 25,000 graffiti sites exist on the world wide web; the majority of these are pro-graffiti. Graffiti vandalism is a problem in nearly every urban area in the world. Pro-graffiti web sites post photos of graffiti from Europe, South America, the Philippines, Australia, South Africa, China and Japan. Billions of dollars worldwide are spent each year in an effort to curb graffiti.

G While most taggers are simply interested in seeing their name is as many places as possible and as visibly as possible, some taggers are more content to find secluded warehouse walls where they can practise their pieces. Some of these taggers are able to sell twelve-foot canvases of their work for upwards of $10 – $12,000. As graffiti was introduced to the art world, two trends happened. One, the art world of collectors, dealers, curators, artists and the like helped graffitists evolve in style, presumably by sharing their artistic knowledge with the newcomers. Two, the exposure helped to expand graffiti into all parts of the world. Furthermore, more progressive cities have recognised the talent of graffitists by providing a means for them to do legal graffiti art, which has helped to foster the art form and lessen the amount of graffiti art that appears in the city as vandalism. Likewise, organisations who support graffiti artists seek out places to do legal graffiti such as abandoned buildings, businesses, or community walls in parks. What this shows is that some graffiti, particularly in the form of a spray can art, is recognised as art by the conventional art world.

A The difference between companies is people. With capital and technology in plentiful supply, the critical resource for companies in the knowledge era will be human talent. Companies full of achievers will, by definition, outperform organisations of plodders. Ergo, compete ferociously for the best people. Poach and pamper stars; ruthlessly weed out second-raters.

B The point was illuminated in brilliant relief by Enron, whose leaders, as a New Yorker article called ‘The Talent Myth’ entertainingly related, were so convinced of their own cleverness that they never twigged that collective intelligence is not the sum of a lot of individual intelligence. In fact, in a profound sense, the two are opposites. Enron believed in stars, noted author Malcolm Gladwell, because they didn’t believe in systems. But companies don’t just create: ‘they execute and compete and coordinate the efforts of many people, and the organisations that are most successful at that task are the ones where the system is the star’. The truth is that you can’t win the talent wars by hiring stars – only lose it.

C Group performance suffered as a result of tensions and resentment by rivals within the team. One respondent likened hiring a star to an organ transplant. The new organ can damage others by hogging the blood supply; other organs can start aching or threaten to stop working or the body can reject the transplants altogether, he said. ‘You should think about it very carefully before you do a transplant to a healthy body,’ said, investors punished the offender by selling its stock. This is ironic since the motive for importing stars was often a suffering share price in the first place. Shareholders evidently believe that the company is overpaying, the hiree is cashing in on a glorious past rather than preparing for a glowing present, and a spending spree is in the offing.

D The result of mass star hirings as well as individual ones seems to confirm such doubts. Look at County NatWest and Barclays de Zoete Wedd, both of which hired teams of stars with loud fanfare to do great things in investment banking in the 1990s. Both failed dismally. Everyone accepts the cliche that people make the organization.

E That will be no surprise to those familiar with systems thinking. W Edwards Deming used to say that there was no point in beating up on people when 90 per cent of performance variation was down to the system within which they worked. Consistent improvement, he said, is a matter not of raising the level of individual intelligence.

F Significantly, Thierry Henry, Patrick Vieira and Robert Pires are much bigger stars than when Arsenal bought them, their value (in all senses) enhanced by the Arsenal system. At Chelsea, by contrast, the only context is the stars themselves – managers with different outlooks come and go every couple of seasons. There is no settled system for the stars to blend into. The Chelsea context has not only not added value, it has subtracted it: the side is less than the sum of its exorbitantly expensive parts. Even Real Madrid’s galacticos, the most extravagantly gifted on the planet, are being outperformed by less talented but better-integrated Spanish sides. In football, too, stars improve through systems.

G So if not by hiring stars, how do you compete in the war for talent? You grow your own. This worked for investment managers, where some companies were not only better at creating stars but also at retaining them. Because they had a much more sophisticated view of the interdependent relationship between star and system, they kept them longer without resorting to the arbitrary treatment so destructive to rivals.