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Compiled and Edited: RogerGastman

Text: CalebNeelon & Zio
Art Directi on: SmyrskiC reative(www.smyrskic reative.com)
Production: Leon Catfish
Production Assistance: Fei Liu,ChristelSayegh
Photography: Ben from Supervision, DAME, EKL|PS,Aaron Farle¡FATE,
RogerGastman,SteveGrody,YuriHasegawa, Nicl<Jung,NORM, PUSH,REVOK,
SABER, JonathanShool<,Adam Wal lacavage
SABER would like to thank: My parentsfor puttingup with all of my dramaover
the yearsand alwaysbeingsupportive,EKLIPSfor beinga strongleader(without you
none of this would exist),to everyonein my crewAWR, MSK,especially GKAE,PUSH,
REVOK,KRUSH,LOOK, RETNAfor beinggreatfriendsand partners,Matt Revelli&
Upper Playground, ShellyLeopold,JeriYoshizu & SClON,JosephKnapp,Cathy Lee,
MichaelDelahaut,Chuck Pelly,Joan Gregor,SteveGrod¡ MeghanSeverance for keeping
me positiveand dealingwith my neurot¡cself,Piperand NathanCannon,Jeff Parl<&
Andrew Schulenburg at Boost Mobile,RogerGastman& SonjaTeri, and anyoneI
forgot... Sorry!

Gingko Press Inc.

5768 ParadiseDrive,SuiteJ
Corte Madera,CA94925

Telephone: 4 | 5924.96 | 5
Telefax:4'5.924.9608

bool<s@gingl<opress.com
www.gingkopress.com

R77 P ublis h i n g
PO Box 291458
LosAngeles,CA 90029
info@graffsupply.com
www rrockenterorises.com

Publishedin 2007 by GingkoPress& R77with

the generoussupport of Boost Mobile

^ñbostedartist
orntcntcdlabratirn
www.bosteimrbilc.crm
-Printedin Hong Kong
ISBN:978-l -58423-28| -0

Openingphoto by AdamWallacavage
Mastheadphoto byYuri Hasegawa
sri
Glossydetail pagesphotographybyAaron Farley

www.theseventh
letter.com
 e
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Z'

FrÉew ,r{ .
/
Gfaffrti is if nothing else. an opporlunity to build a my'th around a name.
separating yourself from both the crowds and your fellow performers by sheer
will alone. Among the few tens of thousands of people who make up the grafhti
community around the world, there are few names that carry the same mJ'thic
q"aliry as SABER. Born in ry76 in Glendale, California, in Los Angeles County,
SABER had already made his name a visual fixture in Los Angeles by the end of
his teens. But it was as a zo year old in ry97 that he completed the painting that
would catapult him to the status of a global legend. His piece on the sloping bank
of the L.A. River, nearly the size of a football freld, can be read clear as day from
a satellite photo, and as he strode across the piece in his father's famous photo-
graph, SABER the artist is a tiny speck, nearly invisible amid the blaze of color
he walks on.

'What
dfives a kid, barely out of his teens, to create such a masterwork and to
- overóome so many obstacles of danger, illegality, and physical difficulty to do it?
Youthful brilliance doesn't really explain it - not like a 2o-year-old Bob Dylan
wrifing timeless songs in zo-minute frts of inspirátion. dABER's river piece
took dozens of nights of illegal tenacity. spread out over a year. Testosterone-
driven desire for sheer size doesn't cut it, either. If at any point he decided that
enough was enough. he could have made his piece a single color and been con-
tentwith.beingthe world's largest. But he kept adding eolors, detail. and line
work. You can write off the largestas a male ego thing - and don't get it wrong.
there's plenty of that - but a hell-ben t d esire o n making something the greatesi
goes deeper than that.

In person, $ABER the man is a big a.ndstrong one, with his Holl¡rood hench-
man's sloping shoulders having undergone reconstructive surgery many times.
His stride is'somewhat labored, the result of another surgery, this time to repair
cartilage in his knees torn during the nights on the 3o degree slope ofthe riv-
erbanks. It reflects the laughs of his many friends in the A'WR and MSK graffrti
crews, that he is really, very good at hurting himself.

It has been ro years since he completed that piece, and it is still without question
one of the.single greatest paintings in the history of the graffrti movement; and
by a simple extension, that makes it one of the most signifrcant arfworks of the
.past century. Graffrti is an endless race and game of one-upsmanship, but that
piece still reigns_,

In the years since, SABER has continued in every direction, painting Írollü:
mental.graffrti pieces, creating groundbreaking metal sculptures, painstakingly
rendering hyper-realistic canvases,and working in many other media. He's be-
come a fávorite of corporations who understand that his designs offer a touch of
authenticity that he could never fake at any cost. He's painted around the world
in r-nanydifferent countries. And he's continuingto push himself as an artist in
ways that reflect his process of maturing and growing; in the world of art, a 3o
year oJd may be emerging. In graffrti, that's enough time to create a permanent
legend, especially if those 3o years have been SABER's.

CalebN eelon and RogerGastman

6 SABER

"I thinh I warped,hím-maybe that was the problem from d,ay
one! Hísfather and, I had, our own d,esígnfirrn for ftrany years,
and then later oit,ín our careersI end,ed,up working for rnajor
corporatíonslike Dísney and, Desígnworks,'whíchwas ulti-
mately owned, by BMW. I also worked,for a company called,
Don Post Studíos, which was a
cornpa,nywho d,íd,'makeup and,
applíances and, monsters for the
movíe ind,ustry. When.he-tnasvery
young, thtlt's when I was workíng
for them. He'd comeover to my of-
E.7., Darth
fi,ceand, see,_.1ítera!Iy,
Voúer, or the head,.ofthe Alíens!
Strange thíngs went on ín that
stud,ío-Iots of rnonsters! At the
time, I was workíng'wíth George
Lucas and Steven Spielbergwhen
they were d,oingE.T. and, also Star
Wars with theír lícensees. Because
of thís, I would, get'prod,uctssent
to my son from Kenner and, other
companíes long beforethey would"
cotneout into the marketplace,so
hís room was always thehot room
of the neíghborhood,becausehe had,aLIthe Star WafspíIlow cas-
esand,sheetsand,theotherkíd,scould,n'tevengetthenxyet!Sohe
grew up in an envíronment wíth a lot of entertaínment around,
hím--as weILas alot of artísts." - SABER's Mother
aged me to máke art and ever since I could hold a pencil
I would spend most of my time drawing.. Art and drawing
always inspired me more than anlhing else. I wasn't like
most kids in the fact that I already knew what my purpose
was: to create art. I was very privileged that my momworked
in a creativeindustry so T was alwayssurrounded by visual
stimulation. I was intrigued with Star'W'ars,Robotech and
basically anything futuristic or gory. I remember even at
a young age I would be a temperainental artist when my
hand-eye coordination wasn't developed enough. I would
get furious when I couldn't copy something right. It was al-
waysmy passion.
As an 8 year old, I discovered skateboarding. It was the
perfect blend of cool art and rebellion. My frrst real board
was a Jim Phillips-designed Santa Cruz Rob Roskopp #2. I
used to love the graphics with the arm breaking through the
target. I was obsessedwith skating and it was my introduc-
tion to venfuring out onto the streets. I couldn't sit still in
classesat school, so my only focus was to draw in class and
to *ait for the bell to ring so that I could go and skate. It
took me a couple of years before I was abl'eto venture into
L. A. through skateboarding, I would notice hot skate spots
and graffiti always caught my eye. L.A. has a massive gang
situation so I would see gang hand styles and would get ex-
cited. It wasn't long before I moved to Ventura County and
felt trapped in a bland bubble of suburbia. I would take the
Greyhound back to my old neighborhood of Glendale and
start venturing out into the L.A. River.

With a pair of artist,/designer parents, it was almost inevita-

bl-ethat I woulÍl be an artist as well. I'm a third-generation
artist on my fatherls side since my grandfather was a suc-
cessful illusiiator in NewYork City, and my fatt¡.gr grew up
in'his studio before he attendeá the Chouinard Art Insti-
tute, alongwith my mother. My father worked ir.advertis-
ing design and, among other things, re-designed'Punchy,
the Hawaiian Punch character. My parents alw.qysencoug-

This page,leftr'SABER's
parentsin their studio;right, SABER's
molheráiDonPosiStudios
Oppositepage,SABERas a child

I O SABER
 * ''d;

x ' - , : -* €
-: *:
E.

-ul
h

!-
.:::

¡ii
 I
My cousin Teri and her husband Ben were older and hip
to the Hoil).wood scene and to art. In r989, when I was r3,
they caught wind that I was interested in graffiti and askerl
me if I wanted to see some serious stuff. I grabbed my cam-
era and we drove to a vacant lot on Glendale Boulevard.
It was the Belmont Tunnel, one of Los Angeles' most noto-
rious locations, that graffiti writers used to create elaborate
works.
:
As soon as I saw it, that was it! There was a SKILL piece that
said "REO" in a style he called his "spaghetti style." It was a
really advanced piece. Not that man;r people were painting
that kind of wild style then. There were also the remnants
of the frrst HEXand SLICKbattle. On HEX's part of it, there
was a big stater4entto the world about how everyone sucked
and everyóne could go to hetl. JERO, CHARLIE, P["{ST,
GREEN, GREM, RISKYand K2S crew also had pieces there.
We took photos of all of it, and I rushed home to get them
developed and start drawing. It was a real powerful mo-
ment. .I knew that painting these pieCeswould be more rm-
portant to me than anything else.
L.A. at this time had a very developed and vitrrant graffrti
scene. I also discovered the books SpraycanArt and Sub-
wayArt, and these were my first bibles, as they were for so
many graffiti writers around the worid. I drew and bit most
of the pieces in there, especially the "AXAB" piece by DOC
ín SpraycanAr"ü.In the book, he talked about how a1lof the
arrows in the piece pointed inwards. He said, "This was a
kamikaze run, and the sole purpose of this piece was to de-
stroy al1the other pieces next to it and itself." This was my
first lesson in esoteric thinking about letters: using the ar-
rows as a battle style. At a young age,this was an abstract
concept to grasp, but I got it.
Next, the second, and better-publicized, HEX vs. SLICK
battle was defrnitely a major inspiration. I went to see it
personally, at the Levitz Yard by the L.A. River in Glendale.
I2 SABER
This was always a dangerous place because of gang traffrc.
This was also wheré I noticed my frrst CHAKA tag, a tag thal
sent me scurrying home to practice flaring out spray paint
from thin to thick the way he did.
When I did my frrst piece in r 9 9 o, in an alle¡,.way
in Glendale,
I remember getting chasedout. I had to come back later that
night to finish, and it taught me persistence. One of the frrst
things that I ever did illegally at nighttime was with my dad.
I told him that I had to do it or I would go crazy.The spot was
right down the street from my house, so he said he'd look
out for me and flash his lights if the cops came. For the nert
three or four years, I would skate all over, seeking out skate
spots and taggrng. My skater friends were doing the same
thing, and overtheyears graffrti tookthe place ofskating for
the most par1. I met PUSH, PHABLE, BLES, FAIE, KRISES,
HAVOK and CHUNK-we were all skater buddies before
we erren considered graffiti together. KRISES was always
ahead-he was wearing size 48 jeans when everyone elsewas
wearing tight sho¡ts. He brought big pants to the suburbsl
He used to paint illegals with this crew PKS (Pranksters) in
the tunnels of our Ventura County suburbs, like Newbury
Park, and I would go with him and was always attracted to
this art. He was my older buddy and it was always difficult
being with him becauseI would get clowned on all the time.
But through that, and through skating, I learned how to deal
with others and how to compose mvself.
The BiÉh of Saber
A kid in school gave me the name SABER. I loved the let-
ter combination. That same day, I was walkingwiththat kid
and the girl who gave me my first blowjob to McDonald's. I
was holding her hand as we walked across the street, when
a car hit her. She was tossed r5 feet onto the center divider.
She was lying on the ground leaking out of her head with
a glazedlook in her eyes. Simultaneously, everything went
slow motion. The kid who gave me my name was being as-
saulted by a large crew of reai gangsters with knives and
bats. This is where my life as a graff artist began. I knew
what I was in for. For some reason, I always end up in the
eye of the storm, and that day gave me a glimpse into my
f'uture with graffrti and relationships. To numb my young
pains and to keep my mind busy, I would constantly draw
and paint in the local tunnels. Finally honing a basic level
of abiiity, I stafted working back into L.A. It was at this time
that I met one of my greatest partners, GANK, who later
 I always end up in
the eie of the-stonn,
an{.that d?V gave me
aglrmpse rnto rnY
future with graffiti
and relationEh¡ps.

This page: Earlyattenps at piecing

I3 MA D S O CI ETY
 wrqte.GKAX. He was two months older than me, but he had
been painting freeways since he was r3 years old. He was a
plague. The first time I met him he called me a toy. "I don't
seeyou up anywhere," he said aswe passedtoo many GANK
tags to count.
AWR/MSK
Manyof the olderguyswerein AWR,whichwasa very
respected crew that did incredible pieces. AWR dated back
to the late rg8os and was led by EKLIPS. A'WR was aiways

"I grew up ín what's almost the Lastcity ín L.A. County,and'he

was about a half hour further out than me, ín Ventura County.
He was paíntíng und,erbnd'gesout there, and, hís mentors u)ere
KBISES and, BLES. He was kínd'a goo!, but he kínda sucltedt.
we aLI kínd,a suclred,.He was morefocused on piecíng whereas
. most of us wérefocused'on doíng tagsand throwuf.s. We'tned to
" convince him to change hís name to BUCK)! In the begínníng,
. ít was FATE,HAV)K and, G)NE. SABERwas a ctoupleof cítíes
oeer,so we'd,hang out with hím onceín a whíLe.The fi'rsttime
we went paintíng was at MotorYard'-me, SABERand two other
guys. Someblack graffllí tew that I used'to hang out'wíth, and'
thenhad,beefu;íth, rolled'uponus. Wesaíd'keepit Jaír, one-on
,-o'ne,but of course,they d,idn't,and,SABERgotjumperl. I wasn't
evenreally fríend,s with SABERat thís poínt, and' the crew that what I wanted to be a part of, and I knew I had to go all out
rolled,on us wasformerfriends of míne, so ít was a weird situa- to be noticed. But before EKLIPS would make me a part of
tí on. SABER kin d,of got lít up, but h e stood'upf or me. SABERhad' AWR, he put me in another crew he headed, MSK.
never really evengooe bornbíngin the-lrad'ítíonal senseof free-
"I
wcLyspotsand rooftops.Hehad' justpaínted,gutters and' washes founded,AW crew ín 1988,and, it started to getJame and'
and, stuff like that.'Só.we went out in WestL..A.and, úid' tags grow and a Lot of d,ud,eswanted, to get d,own with it. But AWR
and,sorite outlínes,not "evenanyhíng fi,lled,in. But'SABEBwas was about píecíng and a Lot of the younger kíd,swere about
'Oh flr,yGod; thís ís whatI. want to d,al"' bombing.SoBABAand,IstartedMSKcrewin t989, andítfad'ed,
freakíng out, -.GKAE

I4 SABER *
 a,u)aywhen BABAmoved,to New York.But when theyoungerkíd,s
líke MBEB and GKAEwanted,to get d,ou)nwíth AWB, I was líke,
'VeIl, I can't put you in AWR becausewe:reaboutpíecíngand,
you guys aren't really at that levelyet. But why d,on'tyou guys
start pushíng MSK?' They took ít really seríously, and,it became
a stepping-stoneforAWR in a way, but also íts own thing. And,
a lo,t of that has to d,owíth CKAE. He was d,own to travel and,
he spearhead,ed, a lot of MSK. Youngerguys líke FATE, SABER
and GIr-48had, the abíIíty to do what they wanted, to do, and
had,AWR to back ít up with old,erd,ud,es who had,respect.It was .
a good,formula. Beforeyou knew it, AWR and, MSK werepretty
rnuch Lhesamecrew.

"As a
young guy. UBER wasa genuínely goodguy. He wasa

caring peoplepersonjust like he ís now. He wos really eagerat
that tíme; he'd,come to my house and, we'd,d,raw on paper and,
I'd, erplaín what I Imew about letteríng, and,he'd,pick my brain
about the old d,ays.I'm fi,veyears old,erthanhim, so I was wrít-
íng a lot earlier, and had, knowled"gethat had, beengíven to me
byguys like SINand BABA,and, alsoSHABPfrom N ew York, who
had" an even old,erperspectíve.So I had, thís knowle.dge,and, I
was happy to gíaeít to UBER' Bespectgraffrtí, and, respectother
wrít¿rs. He was hungry and,eager." -EKLIPS
By my senior year, I was kind of a big dog in high school.
Because all of the other kids in high school were fucking
nerds, the gangsters kind of liked me-though I didn't get
alongwith some of them. I had my own group of friends like
PUSH and others that went to my high school.,4t lunch, I'd
ditch school and go down to Venice and do a piece there and
come back. I graduated in 1994 and was made a pafi of A'WR
a t the en d o I th at y ear .
ffid inwffiend,
partyshooting
[.Vi¿{m receives¡ni¡or wound; DaDiel Coom said thi$ mom¡ng:
¡t¡lsaots held on srrspirisftof Deputies responded Saturd{y to a
9ll call thet ¡hots had bee¡ llred in
attcmÉed murder. ibe 200:bliis* of F.ox¡gtle O*,re,.Wiey
fouBd that.a Í¡g¡d, b*d D{aFn out ¿t a
h Rarn¡ l¡ror¡r party at tbe hme of Rf,afl Bbffi*, wbo,
St¡f Writer according to th€ police repórt. knrw
all the participants.
TITOUSAND OA¡$ - Two teens Officeru were iold tbat eftel a fl8bt"
rerú being held in tho Ventura Coqnb, fou¡ sspsts had left tbe parFon foot
J¡ll t¡is moming 6 susFicion of 8t- and retumed by car a¡med with r
tcnpted murder iD comection úith small-calibersemiautom¡tichandgu,
the Ssturday trieht shootiugof a North Accordingto the reporl de or more
I{ollywood mB at lThousand Oaks of the sUspectscmfront€d p6p1,e si
. ¡¡t8, the p¡rti. 8¡ob w¿re t¡red íit r¡e di-
,,... ?he ylctlrt, gung.for¡g 18, recc¡ved rettiotr cf,.*rs crolyd; hiNtiag'$61w as
a superficial gunshotwoutrd to h¡s left he m fff ctro. He rcft¡sed med¡ral
foot, accordingto a police report. treatnl€nt and sid he would seek help
Venturs County Sberilfs deputies frcm bj.Eowo dtrttr.
took Ryan Corteil, 18, of Moorp*k. f'olice foud no motive for the fui-
a¡d Witlim SalsL. 18, of Thomsnd tial fight Their rcport st¡ted tbst all
oals into custody shorlly befo¡e mid. partic¡ptniÉ ms ]oüCei than.zl di¡d

Opposite page, clockwise from top

leíl¡ GANK, GONE; PIIABLE; FATE;
EKLIPS: SABER

D t
"l
i_¡

{¡
rh"5
Freeway
 \i!e
ffi
I
Bv the time that I graduated high school in 1994, I was
completely dedicated to graffrti and especially interested
in painting spots that absolutely everyone would see and
ner-erforget.
There was a railroad bridge that spanned acrossthe 5 Free-
l av that had the potential to be one of those spots. It had a
flat side that was ro feet tall and nearly roo feet long-ifyou
rrere driving under it on the 5, you'd have to be blind not
to see it. Of course, seeing the spot is one thing; figuring
out how to do it is another; and actually executing it is still
another. I ironicaliy had the chance to scope out the spot
on my way to court for a felony graffiti charge.
"The
5 bridge was one of my ideas. It was a classic spot as
[ar as ] could remember where people had caughr tags by
creeping out on it." * GKAX
The faqade of the bridge was a kind of gigantic I beam,
with about an eight-inch ledge on the bottomthat we could
stand on. It looked like there was about two feet of clear-
a nce under rhe ledge fro m r.rhe re the tops of passingsemi
t¡ucks would blast by. But standing on that ledge, even if I
stuck my arm straight up, I still was a good three feet from
the top. It would take.two peopie to paint the bridge, me
painting up from the ledge, and GKAI hanging down off
the top of the bridge from above. If any helicopter came
by, we would almost assuredly be spotted. It was really a
suicidemission.
 Ín order to reach a paintingspot a week irefore, I had scaled
a very large hill at Stadium Wáy off the 5 and gotten a severe
caseofpoison iry thafcovered my entire body, including on
my eye, in my ear and all over my crotch. My inner thighs
were rotten and oozing pus. I looked like a scaly, rotten
leopard. GKAE also.tradthe flu and had a ror-degree tem-
perature. But not evenphysical sickness could stop him. He
stiti took control of the missionandledtheway.
GKA-Eand I lugged ourhouse paint, rollers, extensionpoles
and spray paint to the bridge, set down the pile of supplies,
and took a deep bre¿th. We spotted á group of,silhouettes
comingtoward us;.We stopped what we were doing and we
decided to confront them; I was armed with a knife and
GKAX was armed with a hammer. We walked toward them
hesitanlly. As it turned out, they were just heroin addicts
and no! gángsters.One man asked us for a cigarette.
It was.time to get lo the task at han{. A bridge this big had
never been attempted-let alone completed successfully.
As we worked feverishly, we constantly encountered prob-
lems. Every mundane equipment issue was rnagnified: the
'rnost annoying failut'e waB the breaking of the little plastic
cap that keeps the furry paint roller attached to the handle.
This méánt that my roller constantly slipped off 'and fell
onto thq.passiúgcars beneath me. So I had to constantly lift
myseHbáck down and run into orrcomingtraffic to grab my
=
roller in the middle of the fieeway. How this didn't attract
thé'attention of the police, I'll never know.
"Líhe always, I fi,níshed,a Lotearlíer than SABEBand, waíted,
for hím. Every time he d,ropped, the roller-<nhich ís tlpical SA-
BEB-he'd have to clímb all the way d,ownonto the freeway'and
run ínto th,etrá,ffi,cand get ít. And seríously,no more than to
mínuteslater. he'd,drop it again."
-CKAE
Áfter we finished rolling out the filI of our letters, we then
had the dangerous task of outlining both names. GKAE
outlined all of the tops and most of the piece. I painted the
- details, cracks and frnished my portion on th¿ dght. GKAE
was such an amazing climber; hei would climb from the top
out over the freeway, basically holding on with his finger-
nails. There were large rivets on the bridge, so every time I
I i fted myselfonto the top of the bridge I got these frst-sized
bruises covering all of my body. It took a grueling sü and a
halIhours to finish.
The funny part was that I had to drive under this bridge on
my way to court the next rnorning. Naturally, traffic was
stopped underneath our bridge. I was already on strict
, probation for graffiti, but nothing would stop r.nefrom ac-
complishingour tasks-not even the threat ol'jailtime. The
5 Freéway bridge was o-ur major introduction into a long=
lasting career of L.A. graffiti.
I8 SABER
Of course, graffiti like ours was also a target for the jeal-
ous. Akid decided to.try to take me out and wrote his name
all over my piece. I was heartbroken. One night, I took my
friend SIVA to help me frx it back up. As I was painting out
his tags, SIVA was on the other side. I felt that something
r¡/aswrong and climbed up to see what SIVA was doing. A
security guard was standing there with his pistol pointing at
SIVA, trying to frnd the right moment to shoot him off the
b r i d g e . Tw a r n e d h i m . a n d w e r a n f o r o u r l i v e s .
The next day, my best friend PUSH and I went back and I
put motor grease all over the bridge. My goal was to keep
jealous toys off of my spot. I only heard of one kid falling
off ofthat bridge, but he survived. I heard he broke his arm
and hip.
One day, I turned on the news and our piece was on every
channel. A gastanker had skidded out and blown up under-
neath the bridge, and the bridge was on fire. It was on ev-
ery station. GKAX had a large criminal graffrti case a$ainst
him, so whenthey shut the freeway down to clean the tanker
mess up, the city just buffed GKAI and left me.
"Caltrans just bffid mine, and, not his, becausethey had, a
personalvend,ettaagainst me. Interestingly enough, when I got
popped,ín t 996 and, ertradited,froflr Seattle.the d,etectiveon the
casetold, me that they hgd, to get a, specialteom from )akl,and
to come all the way d,own,toL.A. to buff rny píece, and, that it
had, cost $4,o,ooo to buff that thing. I told, hírn that ít costme
about $zo topaínt it. He told,me thut ít was a"specíalteam' and,
that they had, to block off trffic. I aslced,
hím if they paid,for the
team'scocaíneand,hookers,ioo,becauseítd,oesn'tcost$4,o,ooo
topaíntabndge."-GKAE
Painting this.bridge came at a time in my life when paint-
ing defrnitely came first. I learned to push my comfort zone
to the edge. Those corner rivet support beams were our
saviors, the only extra inch of space to bury your face while
holding on for dear life. I feel I have guardian angels watch-
ing over us, and I always prayed before a major mission.
The graf{rti guardian angels kept that piece running for a
good six;rears before the city finally painted over it.