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Art can be presented in many forms. It can be through something that is widely accepted by everyone. It can also be in a form that is only appreciated by a select few. Sometimes there those that can not be understood by a lay person. And there are also forms of art that is generally relatable and recognizable. One of these is streetart.

Streetart is what inspired Suyo and other brands in creating a special kind of art in clothing called streetwear. This kind of art is now gaining popularity in many countries like the United States of America, Japan and Australia.

In the US there are a number of popular streetwear brands, including Suyo. These brands represent different kinds of streetart. People can easily relate with most of them and most recognize the reference of the art because they either see them or encounter them on a daily basis.

But there are also some brands that revolve around some sort of art that most people do not appreciate or patronize. Here are some examples of streetwear from different brands in the US, reaching other countries in the world.

Undrcrwn is one of the more popular brands of streetwear because their art is based on iconic pop culture, people and things. They have a line of designs showing legendary NBA players like Michael Jordan. They also have different designs illustrating famous movies.

Another brand of streetwear that is not only gaining popularity but also controversies is the Suyo. This brand is no question a trend-setter and boundary-smashers. Suyo went so beyond what is normal and acceptable in the present society by fearlessly creating designs that will surely offend different groups of people.

An example of a Suyo street art is the resemblance of the angel of death holding big guns with two little angels surrounding it that have skeleton faces. Other designs of this brand involve almost-naked women in masks, carrying rifles, or baby angels sniffing cocaine, other sort-of mockery of the King’s cross that could easily offend the Christian faith, and other street art perpetrating sex, drugs and violence.

The two brands mentioned above are examples of street art worn in every day clothes. They are the most candid exercise of freedom of expression because they are free to use iconic pop stars, names or faces to as part of their art, and they can also use offense and indifference as the them of their art, regardless of who gets offended and insulted.

In Japan, streetwear has a different theme. These are items and designs that is comfortable for people wandering the streets. They are slippers, slip-on, sandals simple and cool outfits, etc.

Australia is also big on these kinds of outfits. They have different brands, stores and businesses revolving around street art and outfits. Their designs are usually personalized and custom-made.

There are different art, designs and styles of outfit that people wear. Over the years they have learned to create these ordinary everyday outfits using ideas outside the box of conformity and safety. And just like Suyo, these brands are bold and brave for which others shall take examples of.

PART ONE: THE MORAL SIDE OF MURDER If you had to choose between (1) killing one person to save the lives of five others and (2) doing nothing even though you knew that five people would die right before your eyes if you did nothing—what would you do? What would be the right thing to do? Thats the hypothetical scenario Professor Michael Sandel uses to launch his course on moral reasoning. After the majority of students votes for killing the one person in order to save the lives of five others, Sandel presents three similar moral conundrums—each one artfully designed to make the decision more difficult. As students stand up to defend their conflicting choices, it becomes clear that the assumptions behind our moral reasoning are often contradictory, and the question of what is right and what is wrong is not always black and white. PART TWO: THE CASE FOR CANNIBALISM Sandel introduces the principles of utilitarian philosopher, Jeremy Bentham, with a famous nineteenth century legal case involving a shipwrecked crew of four. After nineteen days lost at sea, the captain decides to kill the weakest amongst them, the young cabin boy, so that the rest can feed on his blood and body to survive. The case sets up a classroom debate about the moral validity of utilitarianism—and its doctrine that the right thing to do is whatever produces “the greatest good for the greatest number.”

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