View allAll Photos Tagged Difficulty
we have difficulties with relationships because we are unlovable and sensitive to rejection.
personality disorders are typically associated with severe disturbances in the behavioral tendencies of an individual, usually involving several areas of the personality, and are nearly always associated with considerable personal and social disruption. Additionally, personality disorders are inflexible and pervasive across many situations, due in large part to the fact that such behavior is ego-syntonic (i.e. the patterns are consistent with the ego integrity of the individual) and are, therefore, perceived to be appropriate by that individual.
Diagnosis of personality disorders can be very subjective; however, inflexible and pervasive behavioral patterns often cause serious personal and social difficulties, as well as a general functional impairment. Rigid and ongoing patterns of feeling, thinking and behavior are said to be caused by underlying belief systems and these systems are referred to as fixed fantasies or "dysfunctional schemata"
To view more of my images, of Beningbrough Hall, please click "here" !
Beningbrough Hall is a large Georgian mansion near the village of Beningbrough, North Yorkshire, England, and overlooks the River Ouse. It has baroque interiors, cantilevered stairs, wood carving and central corridors which run the length of the house. Externally the house is a red-brick Georgian mansion with a grand drive running to the main frontage and a walled garden, The house is home to over 100 portraits on loan from the National Portrait Gallery. It has a restaurant, shop and garden shop, and was shortlisted in 2010 for the Guardian Family Friendly Museum Award. The Hall is set in extensive grounds and is separated from them by an example of a ha-ha (a sunken wall) to prevent sheep and cattle entering the Hall's gardens or the Hall itself. The Hall, situated 8 miles north of York, was built in 1716 by a York landowner, John Bourchier III to replace his family's modest Elizabethan manor, which had been built in 1556 by Sir Ralph Bourchier on his inheritance to the estate. Local builder William Thornton oversaw the construction, but Beningbrough's designer remains a mystery; possibly it was Thomas Archer. Bourchier was High Sheriff of Yorkshire for 1719-1721 and died in 1736 at the age of 52. John Bourchier (1710-1759) followed his father as owner of Beningbrough Hall and was High Sheriff in 1749. It then passed to Dr. Ralph Bourchier, a 71 year old physician and from him to his daughter, Margaret, who lived there for 70 years. Today a Bourchier knot is cut into a lawn adjoining the house. After over 100 years in the Bourchiers' possession, the estate passed in 1827 to the Rev. William Henry Dawnay, the future 6th Viscount Downe, a distant relative. He died in 1846 and left the house to his second son, Payan, who was High Sheriff for 1851. The house was neglected, prompting fears that it might have to be demolished. In 1916 however, a wealthy heiress, Enid Scudamore-Stanhope, Countess of Chesterfield, bought it and immediately set about its restoration, filling it with furnishings and paintings from her ancestral home, Holme Lacy. During the Second World War the hall was occupied by the Royal Air Force. Lady Chesterfield died in 1957 and in June 1958 the estate was acquired by the National Trust after it had been accepted by the government in lieu of death duties at a cost of £29,250. In partnership with the National Portrait Gallery the hall exhibits more than 100 18th-century portraits and has seven new interpretation galleries called 'Making Faces: 18th century Style'. Outside the main building there is a Victorian laundry and a walled garden with vegetable planting, the produce from which is used by the walled garden restaurant. Beningbrough Hall includes a wilderness play area, community orchard, an Italianate border and garden shop. It hosts events, activity days, family art workshops, and an annual food and craft festival which in 2010 was a Big Green Festival.
From Wikipedia, the free encyclopedia
Out on a walk on this sunny day we crossed a golf course where we saw this golfer digging a hole for himself.
The difficulty of using film is shown here with me pressing the shutter just a fraction late when trying to make sure I have the 3 wagons in the photo!
I should have been positioned further away from Eckington Bridge as 57004 and 37423 cross it at 15.33 on the 26th August 2013 when working 6M56 from Berkeley to Crewe Coal Sidings. The new containers for very low level nuclear waste were beginning to replace the more conventional flasks at this time.
After major difficulties and a computer ready to kick the bucket, I finally got this to render..
I really liked how this turned out though I want to add a bit more frames especially to the ending.
Overall, I think it's very cute and I love it! :3
This animation is based off Nintendo's video game hit Splatoon. The concept is about having Internet Friends and how we communicate.
Some technical difficulties resulted in 716 getting a late start out of Oakland, and based on the Charger tacked on to the head end I would guess it had something to do with the control car. CDTX 2108 is seen here running on 536's yellows as it leads the now two-hour late San Joaquin through Berkeley just after 16:00. This used to be a situation in which one could catch one of the Dash 8s pinch-hitting, but it seems there are now enough Chargers and F59s that the old power can stay in the yard.
The morning of 17th February 1981 revealed heavy snow had fallen. In this picture at Kings Norton a Tyseley class 116 DMU is struggling towards Longbridge, wrong line, I am guessing the direction of travel by the tail light!. The Camp Hill lines (left) remain buried under snow and clearly have yet to see a train.
Peter Shoesmith
Copyright Geoff Dowling & John Whitehouse
Views of the Sierra Nevada Mountains from the Mirador de La Abadía. You can get there on a short hike with moderate difficulty from downtown Granada. It has many great views of downtown Granada, the Alhambra and the Albaicín along the way. Check out these 13 other things you can do when visiting the city of Granada in southern Spain.
treasuresoftraveling.com/13-things-to-do-in-granada-spain/
#TreasuresOfTraveling #Granada #Spain #españa #Andalusia #Mountains #Hiking #Hike #OptOutside #SierraNevadaMountains #TravelSpain #españaviaje #Europe #SpanishTreasures #PhotoOfTheDay #WorldTraveler #TravelBlogger #TravelPhotos #GlobeTrotter #PassportStamps #TravelTheWorld #BestPlacesToGo #TheGlobeWanderer #TravelGram #FollowMeFarAway #Wanderlust #GuysWhoTravel #GayTravel #GayTravelBlog #GayTraveler
There is a passage in Solaris (Stanislaw Lem) where, speaking about the difficulty to communicate with alien lifeforms, one character says:
"We think of ourselves as the Knights of the Holy Contact. This is another lie. We are only seeking Man. We have no need of other worlds. A single world, our own, suffices us; but we can't accept it for what it is."
I find that perfectly applicable to our understanding of nature. The mythos we attribute to animals is often so deeply entrenched in our concept of them that we simply don't care anymore about their true nature. We use them as mirrors to look at ourselves.
Spiders have been frequently attributed a feminine nature. Think of Tolkien's Shelob, Arachne in ancient Greece, Uttu in Mesopotamia, the japanese Tsuchigumo, or the African Kwaku Ananse. The reasons for this have probably more to do with dated gender roles than with spider biology.
In most species, females are larger than males (and not infrequently end up as their dinner). Revenge kills of unfaithful husbands is a recurring theme in Greek mythology that pervades into modern times, as it subverts the traditional power imbalance in the couple. To human eyes, spiders have small waists and voluminous butts which remind of the female figure. They weave webs (a traditional female province in humans) and seldom abandon their "home", which they spend most of their time taking care of. More metaphorically, spiders' webs have been assimilated to the way women are expected to gain male attention by passive attraction, embellishing themselves and playing mindgames in order to draw men into courting them.
In this respect, it is probably interesting to learn that spiders are not passive hunters: the spider itself is a vital part of the trap, acting as a sensory trap that draws insects into approaching them and getting entangled into the sticky fibers of the spider web. The things we learn when we stop assuming we know everything there is to learn. Time to stop searching for mirrors and actually look around us without prejudices.
#spider #web #science #mithology #femininity #biology #nature #macro #arachnid #entomology #hunt #odonata #libelula #naturaleza
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Abandoned Abused Street Dogs.
Nikon D300 DX Camera.
Nikkor 17-55 2.8 lens.
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Back Story .................
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This is a mini series containing 5 photos taken this morning.
Little Baby Betty has a very bad infection on her hind left leg.
In my opinion it was the result of a monkey bite that got way out of control. She was having great difficulty putting any weight on it and try as I might the infection was winning. That meant death was waiting around the corner.That my friend is unacceptable !
Yesterday the proper transportation was prepared to do the transport.
Early, like real early this morning no#1 wife and I took
off on our mission to rescue Little Baby Betty and get her
to the Vet.
I told no# 1 this is not going to be just some simple event cuz MS2 isn't going to be happy at all about this plan of ours.
We're going to do a kidnapping so follow my rules and Do Not Deviate unless I call out a new plan while we're in motion !
We arrived, had to hunt down the baby up on floor 2, got her down to floor 1 and started the feeding process. MS2 gobbled her morning rations while helping the baby do the same. All is going as planned so far.
The minute MS2 wandered out the gate to do her private business in the jungle I gave the signal to no# 1. Little Baby Betty was gently wrapped in a soft blanket and all three of us jumped into the waiting vehicle and were gone in less than 60 seconds, more like 30 or 33 seconds.
Slightly over an hour later we pulled to the curb right in front of the Vets office. Noticed I used the term "Curb" ? Well it's a small office open to the street on two sides with his home in the back. It is also in the middle of the morning market where we do our very early morning shopping.
Please remember this is a third world country and this is how it works here.
Plus Mr Vet and his family are quality people, we've known them for years.
Alright then, Baby Betty was taken care of quickly as Mr Vet could see she was in trouble and suffering from a lot of unneeded pain.
Her leg was drained and cleansed, her little bottom was poked with two different shot needles.
She cried a little bit but overall was pretty good girl.
Once finished at the Vets we took off straight back to her home in the jungle knowing MS2 was in panic mode.
Pulled right up to the old rusty gate, bailed out as fast as possible and returned Little Baby Betty to her mom.
As you all know MS2 won't let anyone touch her but me and she was right next to my leg in a heart beat.
The last photo shows MS2, LBB and my hand, everyone's happy ..;-)
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No# 1 found out some more info from one of the monks about the other puppies.
He told her the last 2 or 3 puppies all live with the Nuns. Interesting as I haven't been over by their homes for a long time.
So when we left we drove by real slow and sure enough two were spotted playing with some older dogs
that the Nuns had rescued a few years ago. If MS2 wants to see her other puppies it's only a couple
hundred meters from her palace. And it's all part of the temple grounds, small world.
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Time to end this post, but first I want to thank everyone for your ongoing support, always appreciated.
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Thanks once again, Jon and crew somewhere in Thailand ..;-)
Before you add me as a contact please read
my profile.
Thank You.
Jon&Crew.
Please help with your donations here.
www.gofundme.com/saving-thai-temple-dogs.
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The amazing Alexandre, 3-weeks new, who broke all stereotypes about the difficulties in photographing older newborns and looked so regal in the crowns I made to boot!
I always have difficulty with this species in Ohio, but in Central Florida they seem very responsive to playlback. Is it simply that the population is so dense there? A different subspecies perhaps? Who knows, but I'm always glad for the chance to photograph these cheery birds. One space just opened up on our March 16 - 20 Central Florida trip if anyone would like it!
[286:365]
"A pessimist sees the difficulty in every opportunity; an optimist sees the opportunity in every difficulty." - Winston Churchill
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Started the day off with a journey downtown Knoxville; found that there wasn't too much to see there and the sky was very overcast so photography options were pretty slim.
Killed some time in a mall later on in the day and then headed out to a dock to get some sunset shots.
Luckily the overcast skies seemed to clear up a little bit to allow for some gorgeous sunset photography.
As I always seem to do; I had a hard time choosing just one photo for today so I'm including a collage in the first comment to show off a few more of today's photos.
Not a bad second day; and a little easier on my legs. Glad to have the break because I believe tomorrow is back to hiking.
Hope everyone has had a good day!
Click "L" for a larger view.
The difficulties you meet will resolve themselves as you advance. Proceed, and light will dawn, and shine with increasing clearness on your path.
~ Jim Rohn ~
The difficulty to think at the end of day,
When the shapeless shadow covers the sun
And nothing is left except light on your fur—
There was the cat slopping its milk all day,
Fat cat, red tongue, green mind, white milk
And August the most peaceful month.
To be, in the grass, in the peacefullest time,
Without that monument of cat,
The cat forgotten in the moon;
And to feel that the light is a rabbit-light,
In which everything is meant for you
And nothing need be explained;
Then there is nothing to think of. It comes of itself;
And east rushes west and west rushes down,
No matter. The grass is full
And full of yourself. The trees around are for you,
The whole of the wideness of night is for you,
A self that touches all edges,
You become a self that fills the four corners of night.
The red cat hides away in the fur-light
And there you are humped high, humped up,
You are humped higher and higher, black as stone—
You sit with your head like a carving in space
And the little green cat is a bug in the grass.
Wallace Stevens
Introduccing MRL Courses!
Name: Maka'u Ole
Location: Hawaii, USA
Difficulty: Medium
Type: Speed
Laps: 5
Description:
Built on a small island in Hawaii, this course is all about jumps, as 2 of it's main focus points are an active volcano jump and a Forrest jump. The other tricky part of the course is the sand pit, if the mechas fall from the read, they will have a difficult time getting out, so be careful.
- Build Notes -
Well, here is the first MRL course, this was build relatively quickly, to show the idea of a racing course, and to - hopefully - Inspire other people to build interesting stages, the scale is small, as the racing mechas are shown as 1 stud dots, but it shows the idea, with the red lines indicating the course.
So, if you want to be part of the MRL, but don't want to build a mecha, no problem, you can create courses and challenge the mecha builders to your creations!
So, do you like it? Leave a comment, and remember; you can participate on the MRL here:
“It was with some difficulty that he found the way to his own house, which he approached with silent awe, expecting every moment to hear the shrill voice of Dame Van Winkle. He found the house gone to decay – the roof fallen in, the windows shattered, and the doors off the hinges. A half-starved dog that looked like Wolf was skulking about it. Rip called him by name, but the cur snarled, showed his teeth, and passed on. This was an unkind cut indeed. “My very dog,” sighed poor Rip, “has forgotten me!”
Smith Rock State Park is an American state park located in central Oregon's High Desert near the communities of Redmond and Terrebonne. Its sheer cliffs of tuff and basalt are ideal for rock climbing of all difficulty levels. Smith Rock is generally considered the birthplace of modern American sport climbing, and is host to cutting-edge climbing routes. It is popular for sport climbing. The geology of Smith Rocks is volcanic. It is made up of layers of recent basalt flows overlaying older Clarno ash and tuff formations. Approximately 30 million years ago, a large caldera was formed when overlying rock collapsed into an underground lava chamber. This created a huge amount of rock and ash debris that filled the caldera. That material solidified into rock, becoming Smith Rock tuff. A half million years ago, basalt lava flows from nearby volcanoes covered the older tuff. More recently, the Crooked River cut its way through the layers of rock to create today's geographic features. Smith Rock itself is a 3,200-foot (980 m)-high ridge (above sea level) with a sheer cliff-face overlooking a bend in the Crooked River (elev. 2600 ft), making the cliffs about 600 feet high.
"Operating Difficulties" resulted in a last minute substitution by DRS for the Salop - Newport section of Pathfinders' "Heart of Wales Rambler" Tour on 20/6/2015.
More interesting than the DBS Class 66, class 37s 37607+37608 pass Pengam Jn on the return journey in typical June weather.
Trying a shot in B&W again as thought this one would work.
Ten stop filter for 20 seconds exposure.
I have real difficulty in doing seascape shots round here without the Bass Rock appearing in them.
This Bar-tailed Godwit was having difficulty standing up in the extremely strong wind. You can see the breeze has bent its feathers at the rear end but it was still desperate to keep on feeding. Bar-tailed Godwits like to feed on sandy shores rather than mud or rocks as they specialise on invertebrates of this habitat like sand mason worms and Baltic Tellins.
They breed across Arctic Eurasia, straying into Alaska, wintering in temperate regions including Britain. But they also winter in Australia and New Zealand. One satellite tagged bird in New Zealand undertook the longest known non-stop flight without pausing to feed. Bar-tailed Godwits in New Zealand were tagged and tracked by satellite to the Yellow Sea in China. The distance between these two locations is 9,575 km (5,950 mi), but the actual track flown by one bird was 11,026 km (6,851 mi). This was the longest known non-stop flight of any bird and the flight took approximately nine days. For comparison, vagrant American waders that fly from say Newfoundland to Britain travel about 3500 km (2175 mi) so the Godwit's equivalent was flying between America and Britain four times without a break. That is some feat.
-Horace Bushnel
A shot from the archives. This was taken on my last day in Boracay. Should be back there in December :)
in the midst of difficulty ... a place to find peace
i am so mesmerized by sand dunes there is something so beautiful about how they are created and how they are ever changing. here on the east coast we covet our sand dunes because they protect our beaches. its very hard to keep something consistent that refuses not to change. whenever you go near our sand dunes they have many many signs saying .... stay off .... do not walk on sand dunes ... all in the ernest attempt at saving our beaches. i can understand this but it is still very frustrating for me. At the beach this summer I found a place an oasis (that was made for me) a sand dune that i could play on. i was beyond happy i was doing back flips. i made two trips an hour drive to visit these dunes before i went home once in the morning light and once during evening light. this picture was taken at sunset and yes buddha really enjoyed it.
my new favorite place .....
www.jockeysridgestatepark.com/webcam.html
happy friday and wishing you find your own oasis today
Photographed with difficulty (as I wasn't expecting it!) Denim Air's Fokker 100 PH-MJP is pictured arriving, in Sky Greenland livery, at Newcastle Airport on September 30th 2016. It had previously visited Newcastle Airport during February 2015 when it carried Greenland Express titles. I first saw this aircraft during June 2010 at Heathrow Airport when it was Contact Air's D-AFKE.
Something I have difficulties with, is making decisions. That's why you get two stairs on one day :o)
Well, actually two pictures of the same stairs but from different angles.....
Taken during the European Heritage Days in Hamburg while on a photo walk with Michael.
Location: Coruscant Underworld, Night Life District
Objective: Reconstruction.
Difficulty: Trivial.
— LOG ENTRY —
Moving the last of the supplies was pretty smooth sailing. I think those spies learned quickly to let us do our job. But I’m not daft, I know theres Imperials crawling in the shadows, especially those under the command of Admiral Jud....
Its been a few weeks and the people around here are starting to look a lot less shell shocked by all that occurred during the riots. The fires have been put out and much of the rubble has been cleaned up. We regrouped back where we started in the Fine Arts District. There we were able to discuss our next move. Hozz has tasked us with rebuilding the city from where it stands. The buildings needed redesigned and most if not all of them repainted.
We knew it was a huge task, but even with groups all over Coruscant we stood no match against time. So we took it upon ourselves to gather some citizens from the surrounding area to pitch in and help the cause. Lets just say, it was quite the experience...
— END LOG —
“Alright!!! Everyone listen up! I was able to pull a few strings and get hover pads for moving up and down the buildings easier. Please stay strapped in at all times. The last thing I need is street cleanup added to the already long list of tasks to complete.”
Hozz was always quick to crack a joke, but he was just as quick to let the group know that he didn’t need anyone seriously injured. Also, that most of the hard stuff was already done.
“The Scum and Imperials that are still left are few and they are hiding. They know what awaits them when they return to the surface. But what do we have to worry about anyways? We are survivors.”
Before he leaves, Hozz walks over to Address Cray and Jehk who were going over their plans on how to be as efficient as possible.
“You two are going to be on your own today, I have to head over to the industrial district to watch over a couple groups since their leader wasn’t so lucky as to make it back from the supply runs.”
“It won’t be an issue Hozz, we got this. Jehk and I already have an idea of where to start, is it alright with you if we gather some citizens to help out?”
“Thats not an issue with me, but just remember you guys are liable. I gotta go though. Enjoy your day fellas. Good luck.”
Cray and Jehk grab their tools along with hover pads and head door to door gathering the few that are willing to assist. Well... the few with tools. They could tell the help wasn’t going to be the best. But they needed all the hands they could get.
Cray gathers the group, “LISTEN UP! Extremely happy you all could come out today. We are going to head deeper into the nightlife district to fix up some buildings. Theres a lot of exposed wires so watch yourself. If you decide to use the hover pads remember to strap yourself in and be careful of your surroundings.”
Cray led the group to start on a larger white structure known as The Blassiu. The tope half on the building was almost completely wiped away on the street side. The group quickly got to work. The sounds of power tools echoed around the building and rang through the exposed pipes. At one point the group hearing a muffled yell explode back at them through the pipes. At the same time all the lights in the area became bright then shut off. Only after a few seconds did they come back on and return to normal.
“That was quite odd.” Jehk feeling concerned.
“Probably just a breaker popping Jehk”
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I built this for the Survivors 12x12 Challenge as well as my Phase 2. If it can’t be accepted for both then just count it for Phase 2 of the mission. I rebuilt this probably 3 times before I was happy with the white building. I hope you all enjoy this smaller build and thanks as always for the support.❤️
The Old Warden estate was bought in the late 17th century by London merchant Sir Samuel Ongley. It passed down in the Ongley family until 1872, when the 3rd Baron Ongley, in financial difficulties, sold it to Joseph Shuttleworth of the Lincoln engineering firm of Clayton & Shuttleworth. It thereafter became better known as the Shuttleworth estate.
The mansion house which stands today was built for Joseph Shuttleworth by Henry Clutton, the prominent Victorian architect, to rival the Shuttleworth mansion at Gawthorpe Hall in Lancashire. Built of ashlar in the Jacobean style, it is a 3 storey rectangular block which replaced an existing house and is a grade II* listed building.
Clutton's design with its high chimneys and 100 foot high clock tower have defined and distinguished the mansion for over a century. In addition, Clutton designed many of the interior features such as the carved doors, balustrades and chimneypieces.
Gillows of Lancaster made many of the interior furnishings and there are several magnificent examples of 19th-century paintings by prominent artists such as Sir Frank Dicksee, William Leader, George Vicat Cole and Frank Holl.
The Shuttleworth crest and arms illustrate the origins of the Shuttleworth family’s wealth in weaving and wool.
During the Second World War, the house was a Red Cross convalescent home and auxiliary hospital for airmen. It then opened as an agricultural college in 1946. Today, Bedford College Services manage the Mansion and the Shuttleworth College on behalf of the Shuttleworth Trust.
In an adjacent part of the estate the Swiss Garden houses a number of other grade II* listed structures including bridges, the Indian kiosk and a grotto.
HAPPY MOTHER'S DAY to everyone who celebrates this special day today!
What a mess Flickr was last night! I had difficulty adding titles to my uploaded images, comments didn't save and, after I had added a description to each of the 20 photos, the descriptions all disappeared. When I opened Flickr this morning, there was still no sign of them. Then, suddenly, they re-appeared.
My photos taken at the National Butterfly Centre, Mission, South Texas, have now come to an end, so you can sigh a huge sigh of relief : ) After that, I have just a few photos taken at another place that we called in at later in the afternoon. Unfortunately, we only had an hour there before closing time, but how glad we were that we found this place. The highlight there was watching 25 Yellow-crowned Night-Herons coming in to roost for the night in the trees, right where we were standing! What a great sight this was, and we were lucky enough to have a good, close view of these gorgeous birds. We also saw some Purple Martins and their circular, hanging nest "gourds".
On Day 6 of our birding holiday in South Texas, 24 March 2019, we left our hotel in Kingsville, South Texas, and started our drive to Mission, where we would be staying at La Quinta Inn & Suites for three nights. On the first stretch of our drive, we were lucky enough to see several bird species, including a Golden-fronted Woodpecker, Hooded Oriole, Red-tailed Hawk, Crested Caracara, Harris's Hawk, Pyrrhuloxia male (looks similar to a Cardinal) and a spectacular Scissor-tailed Flycatcher. This stretch is called Hawk Alley.
We had a long drive further south towards Mission, with only a couple of drive-by photos taken en route (of a strangely shaped building that turned out to be a huge, deserted seed storage building). Eventually, we reached our next planned stop, the National Butterfly Centre. This was a great place, my favourite part of it being the bird feeding station, where we saw all sorts of species and reasonably close. Despite the name of the place, we only saw a few butterflies while we were there. May have been the weather or, more likely, the fact that I was having so much fun at the bird feeding station. We also got to see Spike, a giant African Spurred Tortoise. All the nature/wildlife parks that we visited in South Texas had beautiful visitor centres and usually bird feeding stations. And there are so many of these parks - so impressive!
nationalbutterflycenter.org/nbc-multi-media/in-the-news/1...
"Ten years ago, the North American Butterfly Association broke ground for what has now become the largest native plant botanical garden in the United States. This 100-acre preserve is home to Spike (who thinks he is a butterfly) and the greatest volume and variety of wild, free-flying butterflies in the nation. In fact, USA Today calls the National Butterfly Center, in Mission, Texas, 'the butterfly capitol of the USA'." From the Butterfly Centre's website.
The Centre is facing huge challenges, as a result of the "Border Wall". The following information is from the Centre's website.
www.nationalbutterflycenter.org/about-nbc/maps-directions...
"No permission was requested to enter the property or begin cutting down trees. The center was not notified of any roadwork, nor given the opportunity to review, negotiate or deny the workplan. Same goes for the core sampling of soils on the property, and the surveying and staking of a “clear zone” that will bulldoze 200,000 square feet of habitat for protected species like the Texas Tortoise and Texas Indigo, not to mention about 400 species of birds. The federal government had decided it will do as it pleases with our property, swiftly and secretly, in spite of our property rights and right to due process under the law."
"What the Border Wall will do here:
1) Eradicate an enormous amount of native habitat, including host plants for butterflies, breeding and feeding areas for wildlife, and lands set aside for conservation of endangered and threatened species-- including avian species that migrate N/S through this area or over-winter, here, in the tip of the Central US Flyway.
2) Create devastating flooding to all property up to 2 miles behind the wall, on the banks of the mighty Rio Grande River, here.
3) Reduce viable range land for wildlife foraging and mating. This will result in greater competition for resources and a smaller gene pool for healthy species reproduction. Genetic "bottlenecks" can exacerbate blight and disease.
IN ADDITION:
4) Not all birds can fly over the wall, nor will all butterfly species. For example, the Ferruginous Pygmy Owl, found on the southern border from Texas to Arizona, only flies about 6 ft in the air. It cannot overcome a 30 ft vertical wall of concrete and steel.
5) Nocturnal and crepuscular wildlife, which rely on sunset and sunrise cues to regulate vital activity, will be negatively affected by night time flood lighting of the "control zone" the DHS CBP will establish along the wall and new secondary drag roads. The expansion of these areas to vehicular traffic will increase wildlife roadkill.
6) Animals trapped north of the wall will face similar competition for resources, cut off from native habitat in the conservation corridor and from water in the Rio Grande River and adjacent resacas. HUMANS, here, will also be cut off from our only source of fresh water, in this irrigated desert.
Hi everyone! Jack here again, and thankfully (with much difficulty from Flickr, falsely accusing me that I had over 1,000 photos), I have uploaded this display I brought for BricksLA. Everything was pretty much built in a week prior, so some parts may be rough or messy, but, overall (considering the time frame to build something at this scale), I think it came together nicely. Its backstory: German troops occupying a central Italian roadway (not Italian troops since Germans occupied most of Italy during Operation Avalanche, or the allied invasion of Italy, due to breaks in the Italian government/dictatorship following their losses in North Africa) spot the Americans advancing even more northwards. They quickly prepare to ambush the small convoy, but the U.S. soldiers won't hold back! The sides spread out along the road, occupying an opposite side of where they meet, and engage in combat. This scene depicts said combat, a relatively fairly common encounter in Italy during 43'. Well, that's it for the storyline. I hope, though it was built hastily, you guys enjoy it!
Comments and Faves, as always, are welcomed and greatly appreciated (;.
No more blurred vision or difficulty swallowing.
No longer anxious or concerned.
Health and safety a main priority.
Special coat for rainy days.
Always hand in the coupons.
Not wasting energy trying to change.
Chores no longer tiresome.
Thinking positive (optimism not pessimism).
Better self esteem.
Always polite.
Loud noises no longer causing deep distress.
Economy drive.
Necessity not choice.
Now protecting the environment (never dropping litter on the pavement).
Never squashing snails or putting salt on the slugs.
Refuse always in correct recycle bin.
Always the same toothpaste.
Aware (but helpless).
A more confident citizen.
Acting with spontaneity (but always careful).
Take away treat on Fridays.
Waking more refreshed (now and again).
More able to taste chocolate (also on Fridays).
Always read the signs.
Always heed the signs.
Feeding the birds.
No longer wasting income on cigarettes. (but for how long?).
Following the rules at all times.
An apple a day.
Nothing vulgar.
Nothing offensive.
Nothing abhorrent.
Ques no longer causing anger.
Dreaming of a better future (but living in the moment).
Obedient.
Calm.
Positive focused and more efficient.
A donkey on a rope.....never getting the carrot.
Found this dainty moth [with its wingspan of 18mm] with great difficulty feeding on the herb garden plants on the reserve.
See more photos of this, and the Wikipedia article.
Details, quoting from Smithsonian National Air and Space Museum | Lockheed P-38J-10-LO Lightning
In the P-38 Lockheed engineer Clarence "Kelly" Johnson and his team of designers created one of the most successful twin-engine fighters ever flown by any nation. From 1942 to 1945, U. S. Army Air Forces pilots flew P-38s over Europe, the Mediterranean, and the Pacific, and from the frozen Aleutian Islands to the sun-baked deserts of North Africa. Lightning pilots in the Pacific theater downed more Japanese aircraft than pilots flying any other Allied warplane.
Maj. Richard I. Bong, America's leading fighter ace, flew this P-38J-10-LO on April 16, 1945, at Wright Field, Ohio, to evaluate an experimental method of interconnecting the movement of the throttle and propeller control levers. However, his right engine exploded in flight before he could conduct the experiment.
Transferred from the United States Air Force.
Manufacturer:
Date:
1943
Country of Origin:
United States of America
Dimensions:
Overall: 390 x 1170cm, 6345kg, 1580cm (12ft 9 9/16in. x 38ft 4 5/8in., 13988.2lb., 51ft 10 1/16in.)
Materials:
All-metal
Physical Description:
Twin-tail boom and twin-engine fighter; tricycle landing gear.
Long Description:
From 1942 to 1945, the thunder of P-38 Lightnings was heard around the world. U. S. Army pilots flew the P-38 over Europe, the Mediterranean, and the Pacific; from the frozen Aleutian Islands to the sun-baked deserts of North Africa. Measured by success in combat, Lockheed engineer Clarence "Kelly" Johnson and a team of designers created the most successful twin-engine fighter ever flown by any nation. In the Pacific Theater, Lightning pilots downed more Japanese aircraft than pilots flying any other Army Air Forces warplane.
Johnson and his team conceived this twin-engine, single-pilot fighter airplane in 1936 and the Army Air Corps authorized the firm to build it in June 1937. Lockheed finished constructing the prototype XP-38 and delivered it to the Air Corps on New Year's Day, 1939. Air Corps test pilot and P-38 project officer, Lt. Benjamin S. Kelsey, first flew the aircraft on January 27. Losing this prototype in a crash at Mitchel Field, New York, with Kelsey at the controls, did not deter the Air Corps from ordering 13 YP-38s for service testing on April 27. Kelsey survived the crash and remained an important part of the Lightning program. Before the airplane could be declared ready for combat, Lockheed had to block the effects of high-speed aerodynamic compressibility and tail buffeting, and solve other problems discovered during the service tests.
The most vexing difficulty was the loss of control in a dive caused by aerodynamic compressibility. During late spring 1941, Air Corps Major Signa A. Gilke encountered serious trouble while diving his Lightning at high-speed from an altitude of 9,120 m (30,000 ft). When he reached an indicated airspeed of about 515 kph (320 mph), the airplane's tail began to shake violently and the nose dropped until the dive was almost vertical. Signa recovered and landed safely and the tail buffet problem was soon resolved after Lockheed installed new fillets to improve airflow where the cockpit gondola joined the wing center section. Seventeen months passed before engineers began to determine what caused the Lightning's nose to drop. They tested a scale model P-38 in the Ames Laboratory wind tunnel operated by the NACA (National Advisory Committee for Aeronautics) and found that shock waves formed when airflow over the wing leading edges reached transonic speeds. The nose drop and loss of control was never fully remedied but Lockheed installed dive recovery flaps under each wing in 1944. These devices slowed the P-38 enough to allow the pilot to maintain control when diving at high-speed.
Just as the development of the North American P-51 Mustang, Republic P-47 Thunderbolt, and the Vought F4U Corsair (see NASM collection for these aircraft) pushed the limits of aircraft performance into unexplored territory, so too did P-38 development. The type of aircraft envisioned by the Lockheed design team and Air Corps strategists in 1937 did not appear until June 1944. This protracted shakedown period mirrors the tribulations suffered by Vought in sorting out the many technical problems that kept F4U Corsairs off U. S. Navy carrier decks until the end of 1944.
Lockheed's efforts to trouble-shoot various problems with the design also delayed high-rate, mass production. When Japan attacked Pearl Harbor, the company had delivered only 69 Lightnings to the Army. Production steadily increased and at its peak in 1944, 22 sub-contractors built various Lightning components and shipped them to Burbank, California, for final assembly. Consolidated-Vultee (Convair) subcontracted to build the wing center section and the firm later became prime manufacturer for 2,000 P-38Ls but that company's Nashville plant completed only 113 examples of this Lightning model before war's end. Lockheed and Convair finished 10,038 P-38 aircraft including 500 photo-reconnaissance models. They built more L models, 3,923, than any other version.
To ease control and improve stability, particularly at low speeds, Lockheed equipped all Lightnings, except a batch ordered by Britain, with propellers that counter-rotated. The propeller to the pilot's left turned counter-clockwise and the propeller to his right turned clockwise, so that one propeller countered the torque and airflow effects generated by the other. The airplane also performed well at high speeds and the definitive P-38L model could make better than 676 kph (420 mph) between 7,600 and 9,120 m (25,000 and 30,000 ft). The design was versatile enough to carry various combinations of bombs, air-to-ground rockets, and external fuel tanks. The multi-engine configuration reduced the Lightning loss-rate to anti-aircraft gunfire during ground attack missions. Single-engine airplanes equipped with power plants cooled by pressurized liquid, such as the North American P-51 Mustang (see NASM collection), were particularly vulnerable. Even a small nick in one coolant line could cause the engine to seize in a matter of minutes.
The first P-38s to reach the Pacific combat theater arrived on April 4, 1942, when a version of the Lightning that carried reconnaissance cameras (designated the F-4), joined the 8th Photographic Squadron based in Australia. This unit launched the first P-38 combat missions over New Guinea and New Britain during April. By May 29, the first 25 P-38s had arrived in Anchorage, Alaska. On August 9, pilots of the 343rd Fighter Group, Eleventh Air Force, flying the P-38E, shot down a pair of Japanese flying boats.
Back in the United States, Army Air Forces leaders tried to control a rumor that Lightnings killed their own pilots. On August 10, 1942, Col. Arthur I. Ennis, Chief of U. S. Army Air Forces Public Relations in Washington, told a fellow officer "… Here's what the 4th Fighter [training] Command is up against… common rumor out there that the whole West Coast was filled with headless bodies of men who jumped out of P-38s and had their heads cut off by the propellers." Novice Lightning pilots unfamiliar with the correct bailout procedures actually had more to fear from the twin-boom tail, if an emergency dictated taking to the parachute but properly executed, Lightning bailouts were as safe as parachuting from any other high-performance fighter of the day. Misinformation and wild speculation about many new aircraft was rampant during the early War period.
Along with U. S. Navy Grumman F4F Wildcats (see NASM collection) and Curtiss P-40 Warhawks (see NASM collection), Lightnings were the first American fighter airplanes capable of consistently defeating Japanese fighter aircraft. On November 18, men of the 339th Fighter Squadron became the first Lightning pilots to attack Japanese fighters. Flying from Henderson Field on Guadalcanal, they claimed three during a mission to escort Boeing B-17 Flying Fortress bombers (see NASM collection).
On April 18, 1943, fourteen P-38 pilots from the 70th and the 339th Fighter Squadrons, 347th Fighter Group, accomplished one of the most important Lightning missions of the war. American ULTRA cryptanalysts had decoded Japanese messages that revealed the timetable for a visit to the front by the commander of the Imperial Japanese Navy, Admiral Isoroku Yamamoto. This charismatic leader had crafted the plan to attack Pearl Harbor and Allied strategists believed his loss would severely cripple Japanese morale. The P-38 pilots flew 700 km (435 miles) at heights from 3-15 m (10-50 feet) above the ocean to avoid detection. Over the coast of Bougainville, they intercepted a formation of two Mitsubishi G4M BETTY bombers (see NASM collection) carrying the Admiral and his staff, and six Mitsubishi A6M Zero fighters (see NASM collection) providing escort. The Lightning pilots downed both bombers but lost Lt. Ray Hine to a Zero.
In Europe, the first Americans to down a Luftwaffe aircraft were Lt. Elza E. Shahan flying a 27th Fighter Squadron P-38E, and Lt. J. K. Shaffer flying a Curtiss P-40 (see NASM collection) in the 33rd Fighter Squadron. The two flyers shared the destruction of a Focke-Wulf Fw 200C-3 Condor maritime strike aircraft over Iceland on August 14, 1942. Later that month, the 1st fighter group accepted Lightnings and began combat operations from bases in England but this unit soon moved to fight in North Africa. More than a year passed before the P-38 reappeared over Western Europe. While the Lightning was absent, U. S. Army Air Forces strategists had relearned a painful lesson: unescorted bombers cannot operate successfully in the face of determined opposition from enemy fighters. When P-38s returned to England, the primary mission had become long-range bomber escort at ranges of about 805 kms (500 miles) and at altitudes above 6,080 m (20,000 ft).
On October 15, 1943, P-38H pilots in the 55th Fighter Group flew their first combat mission over Europe at a time when the need for long-range escorts was acute. Just the day before, German fighter pilots had destroyed 60 of 291 Eighth Air Force B-17 Flying Fortresses (see NASM collection) during a mission to bomb five ball-bearing plants at Schweinfurt, Germany. No air force could sustain a loss-rate of nearly 20 percent for more than a few missions but these targets lay well beyond the range of available escort fighters (Republic P-47 Thunderbolt, see NASM collection). American war planners hoped the long-range capabilities of the P-38 Lightning could halt this deadly trend, but the very high and very cold environment peculiar to the European air war caused severe power plant and cockpit heating difficulties for the Lightning pilots. The long-range escort problem was not completely solved until the North American P-51 Mustang (see NASM collection) began to arrive in large numbers early in 1944.
Poor cockpit heating in the H and J model Lightnings made flying and fighting at altitudes that frequently approached 12,320 m (40,000 ft) nearly impossible. This was a fundamental design flaw that Kelly Johnson and his team never anticipated when they designed the airplane six years earlier. In his seminal work on the Allison V-1710 engine, Daniel Whitney analyzed in detail other factors that made the P-38 a disappointing airplane in combat over Western Europe.
• Many new and inexperienced pilots arrived in England during December 1943, along with the new J model P-38 Lightning.
• J model rated at 1,600 horsepower vs. 1,425 for earlier H model Lightnings. This power setting required better maintenance between flights. It appears this work was not done in many cases.
• During stateside training, Lightning pilots were taught to fly at high rpm settings and low engine manifold pressure during cruise flight. This was very hard on the engines, and not in keeping with technical directives issued by Allison and Lockheed.
• The quality of fuel in England may have been poor, TEL (tetraethyl lead) fuel additive appeared to condense inside engine induction manifolds, causing detonation (destructive explosion of fuel mixture rather than controlled burning).
• Improved turbo supercharger intercoolers appeared on the J model P-38. These devices greatly reduced manifold temperatures but this encouraged TEL condensation in manifolds during cruise flight and increased spark plug fouling.
Using water injection to minimize detonation might have reduced these engine problems. Both the Republic P-47 Thunderbolt and the North American P-51 Mustang (see NASM collection) were fitted with water injection systems but not the P-38. Lightning pilots continued to fly, despite these handicaps.
During November 1942, two all-Lightning fighter groups, the 1st and the 14th, began operating in North Africa. In the Mediterranean Theater, P-38 pilots flew more sorties than Allied pilots flying any other type of fighter. They claimed 608 enemy a/c destroyed in the air, 123 probably destroyed and 343 damaged, against the loss of 131 Lightnings.
In the war against Japan, the P-38 truly excelled. Combat rarely occurred above 6,080 m (20,000 ft) and the engine and cockpit comfort problems common in Europe never plagued pilots in the Pacific Theater. The Lightning's excellent range was used to full advantage above the vast expanses of water. In early 1945, Lightning pilots of the 12th Fighter Squadron, 18th Fighter Group, flew a mission that lasted 10 ½ hours and covered more than 3,220 km (2,000 miles). In August, P-38 pilots established the world's long-distance record for a World War II combat fighter when they flew from the Philippines to the Netherlands East Indies, a distance of 3,703 km (2,300 miles). During early 1944, Lightning pilots in the 475th Fighter Group began the 'race of aces.' By March, Lieutenant Colonel Thomas J. Lynch had scored 21 victories before he fell to antiaircraft gunfire while strafing enemy ships. Major Thomas B. McGuire downed 38 Japanese aircraft before he was killed when his P-38 crashed at low altitude in early January 1945. Major Richard I. Bong became America's highest scoring fighter ace (40 victories) but died in the crash of a Lockheed P-80 (see NASM collection) on August 6, 1945.
Museum records show that Lockheed assigned the construction number 422-2273 to the National Air and Space Museum's P-38. The Army Air Forces accepted this Lightning as a P-38J-l0-LO on November 6, 1943, and the service identified the airplane with the serial number 42-67762. Recent investigations conducted by a team of specialists at the Paul E. Garber Facility, and Herb Brownstein, a volunteer in the Aeronautics Division at the National Air and Space Museum, have revealed many hitherto unknown aspects to the history of this aircraft.
Brownstein examined NASM files and documents at the National Archives. He discovered that a few days after the Army Air Forces (AAF) accepted this airplane, the Engineering Division at Wright Field in Dayton, Ohio, granted Lockheed permission to convert this P-38 into a two-seat trainer. The firm added a seat behind the pilot to accommodate an instructor who would train civilian pilots in instrument flying techniques. Once trained, these test pilots evaluated new Lightnings fresh off the assembly line.
In a teletype sent by the Engineering Division on March 2, 1944, Brownstein also discovered that this P-38 was released to Colonel Benjamin S. Kelsey from March 3 to April 10, 1944, to conduct special tests. This action was confirmed the following day in a cable from the War Department. This same pilot, then a Lieutenant, flew the XP-38 across the United States in 1939 and survived the crash that destroyed this Lightning at Mitchel Field, New York. In early 1944, Kelsey was assigned to the Eighth Air Force in England and he apparently traveled to the Lockheed factory at Burbank to pick up the P-38. Further information about these tests and Kelsey's involvement remain an intriguing question.
One of Brownstein's most important discoveries was a small file rich with information about the NASM Lightning. This file contained a cryptic reference to a "Major Bong" who flew the NASM P-38 on April 16, 1945, at Wright Field. Bong had planned to fly for an hour to evaluate an experimental method of interconnecting the movement of the throttle and propeller control levers. His flight ended after twenty-minutes when "the right engine blew up before I had a chance [to conduct the test]." The curator at the Richard I. Bong Heritage Center confirmed that America's highest scoring ace made this flight in the NASM P-38 Lightning.
Working in Building 10 at the Paul E. Garber Facility, Rob Mawhinney, Dave Wilson, Wil Lee, Bob Weihrauch, Jim Purton, and Heather Hutton spent several months during the spring and summer of 2001 carefully disassembling, inspecting, and cleaning the NASM Lightning. They found every hardware modification consistent with a model J-25 airplane, not the model J-10 painted in the data block beneath the artifact's left nose. This fact dovetails perfectly with knowledge uncovered by Brownstein. On April 10, the Engineering Division again cabled Lockheed asking the company to prepare 42-67762 for transfer to Wright Field "in standard configuration." The standard P-38 configuration at that time was the P-38J-25. The work took several weeks and the fighter does not appear on Wright Field records until May 15, 1944. On June 9, the Flight Test Section at Wright Field released the fighter for flight trials aimed at collecting pilot comments on how the airplane handled.
Wright Field's Aeromedical Laboratory was the next organization involved with this P-38. That unit installed a kit on July 26 that probably measured the force required to move the control wheel left and right to actuate the power-boosted ailerons installed in all Lightnings beginning with version J-25. From August 12-16, the Power Plant Laboratory carried out tests to measure the hydraulic pump temperatures on this Lightning. Then beginning September 16 and lasting about ten days, the Bombing Branch, Armament Laboratory, tested type R-3 fragmentation bomb racks. The work appears to have ended early in December. On June 20, 1945, the AAF Aircraft Distribution Office asked that the Air Technical Service Command transfer the Lightning from Wright Field to Altus Air Force Base, Oklahoma, a temporary holding area for Air Force museum aircraft. The P-38 arrived at the Oklahoma City Air Depot on June 27, 1945, and mechanics prepared the fighter for flyable storage.
Airplane Flight Reports for this Lightning also describe the following activities and movements:
6-21-45 Wright Field, Ohio, 5.15 hours of flying.
6-22-45Wright Field, Ohio, .35 minutes of flying by Lt. Col. Wendel [?] J. Kelley and P. Shannon.
6-25-45Altus, Oklahoma, .55 hours flown, pilot P. Shannon.
6-27-45Altus, Oklahoma, #2 engine changed, 1.05 hours flown by Air Corps F/O Ralph F. Coady.
10-5-45 OCATSC-GCAAF (Garden City Army Air Field, Garden City, Kansas), guns removed and ballast added.
10-8-45Adams Field, Little Rock, Arkansas.
10-9-45Nashville, Tennessee,
5-28-46Freeman Field, Indiana, maintenance check by Air Corps Capt. H. M. Chadhowere [sp]?
7-24-46Freeman Field, Indiana, 1 hour local flight by 1st Lt. Charles C. Heckel.
7-31-46 Freeman Field, Indiana, 4120th AAF Base Unit, ferry flight to Orchard Place [Illinois] by 1st Lt. Charles C. Heckel.
On August 5, 1946, the AAF moved the aircraft to another storage site at the former Consolidated B-24 bomber assembly plant at Park Ridge, Illinois. A short time later, the AAF transferred custody of the Lightning and more than sixty other World War II-era airplanes to the Smithsonian National Air Museum. During the early 1950s, the Air Force moved these airplanes from Park Ridge to the Smithsonian storage site at Suitland, Maryland.
• • •
Quoting from Wikipedia | Lockheed P-38 Lightning:
The Lockheed P-38 Lightning was a World War II American fighter aircraft built by Lockheed. Developed to a United States Army Air Corps requirement, the P-38 had distinctive twin booms and a single, central nacelle containing the cockpit and armament. Named "fork-tailed devil" by the Luftwaffe and "two planes, one pilot" by the Japanese, the P-38 was used in a number of roles, including dive bombing, level bombing, ground-attack, photo reconnaissance missions, and extensively as a long-range escort fighter when equipped with drop tanks under its wings.
The P-38 was used most successfully in the Pacific Theater of Operations and the China-Burma-India Theater of Operations as the mount of America's top aces, Richard Bong (40 victories) and Thomas McGuire (38 victories). In the South West Pacific theater, the P-38 was the primary long-range fighter of United States Army Air Forces until the appearance of large numbers of P-51D Mustangs toward the end of the war. The P-38 was unusually quiet for a fighter, the exhaust muffled by the turbo-superchargers. It was extremely forgiving, and could be mishandled in many ways, but the rate of roll was too slow for it to excel as a dogfighter. The P-38 was the only American fighter aircraft in production throughout American involvement in the war, from Pearl Harbor to Victory over Japan Day.
Variants: Lightning in maturity: P-38J
The P-38J was introduced in August 1943. The turbo-supercharger intercooler system on previous variants had been housed in the leading edges of the wings and had proven vulnerable to combat damage and could burst if the wrong series of controls were mistakenly activated. In the P-38J model, the streamlined engine nacelles of previous Lightnings were changed to fit the intercooler radiator between the oil coolers, forming a "chin" that visually distinguished the J model from its predecessors. While the P-38J used the same V-1710-89/91 engines as the H model, the new core-type intercooler more efficiently lowered intake manifold temperatures and permitted a substantial increase in rated power. The leading edge of the outer wing was fitted with 55 gal (208 l) fuel tanks, filling the space formerly occupied by intercooler tunnels, but these were omitted on early P-38J blocks due to limited availability.
The final 210 J models, designated P-38J-25-LO, alleviated the compressibility problem through the addition of a set of electrically-actuated dive recovery flaps just outboard of the engines on the bottom centerline of the wings. With these improvements, a USAAF pilot reported a dive speed of almost 600 mph (970 km/h), although the indicated air speed was later corrected for compressibility error, and the actual dive speed was lower. Lockheed manufactured over 200 retrofit modification kits to be installed on P-38J-10-LO and J-20-LO already in Europe, but the USAAF C-54 carrying them was shot down by an RAF pilot who mistook the Douglas transport for a German Focke-Wulf Condor. Unfortunately the loss of the kits came during Lockheed test pilot Tony LeVier's four-month morale-boosting tour of P-38 bases. Flying a new Lightning named "Snafuperman" modified to full P-38J-25-LO specs at Lockheed's modification center near Belfast, LeVier captured the pilots' full attention by routinely performing maneuvers during March 1944 that common Eighth Air Force wisdom held to be suicidal. It proved too little too late because the decision had already been made to re-equip with Mustangs.
The P-38J-25-LO production block also introduced hydraulically-boosted ailerons, one of the first times such a system was fitted to a fighter. This significantly improved the Lightning's rate of roll and reduced control forces for the pilot. This production block and the following P-38L model are considered the definitive Lightnings, and Lockheed ramped up production, working with subcontractors across the country to produce hundreds of Lightnings each month.
Noted P-38 pilots
Richard Bong and Thomas McGuire
The American ace of aces and his closest competitor both flew Lightnings as they tallied 40 and 38 victories respectively. Majors Richard I. "Dick" Bong and Thomas J. "Tommy" McGuire of the USAAF competed for the top position. Both men were awarded the Medal of Honor.
McGuire was killed in air combat in January 1945 over the Philippines, after racking up 38 confirmed kills, making him the second-ranking American ace. Bong was rotated back to the United States as America's ace of aces, after making 40 kills, becoming a test pilot. He was killed on 6 August 1945, the day the atomic bomb was dropped on Japan, when his P-80 Shooting Star jet fighter flamed out on takeoff.
Charles Lindbergh
The famed aviator Charles Lindbergh toured the South Pacific as a civilian contractor for United Aircraft Corporation, comparing and evaluating performance of single- and twin-engined fighters for Vought. He worked to improve range and load limits of the F4U Corsair, flying both routine and combat strafing missions in Corsairs alongside Marine pilots. In Hollandia, he attached himself to the 475th FG flying P-38s so that he could investigate the twin-engine fighter. Though new to the machine, he was instrumental in extending the range of the P-38 through improved throttle settings, or engine-leaning techniques, notably by reducing engine speed to 1,600 rpm, setting the carburetors for auto-lean and flying at 185 mph (298 km/h) indicated airspeed which reduced fuel consumption to 70 gal/h, about 2.6 mpg. This combination of settings had been considered dangerous; it was thought it would upset the fuel mixture and cause an explosion. Everywhere Lindbergh went in the South Pacific, he was accorded the normal preferential treatment of a visiting colonel, though he had resigned his Air Corps Reserve colonel's commission three years before. While with the 475th, he held training classes and took part in a number of Army Air Corps combat missions. On 28 July 1944, Lindbergh shot down a Mitsubishi Ki-51 "Sonia" flown expertly by the veteran commander of 73rd Independent Flying Chutai, Imperial Japanese Army Captain Saburo Shimada. In an extended, twisting dogfight in which many of the participants ran out of ammunition, Shimada turned his aircraft directly toward Lindbergh who was just approaching the combat area. Lindbergh fired in a defensive reaction brought on by Shimada's apparent head-on ramming attack. Hit by cannon and machine gun fire, the "Sonia's" propeller visibly slowed, but Shimada held his course. Lindbergh pulled up at the last moment to avoid collision as the damaged "Sonia" went into a steep dive, hit the ocean and sank. Lindbergh's wingman, ace Joseph E. "Fishkiller" Miller, Jr., had also scored hits on the "Sonia" after it had begun its fatal dive, but Miller was certain the kill credit was Lindbergh's. The unofficial kill was not entered in the 475th's war record. On 12 August 1944 Lindbergh left Hollandia to return to the United States.
Charles MacDonald
The seventh-ranking American ace, Charles H. MacDonald, flew a Lightning against the Japanese, scoring 27 kills in his famous aircraft, the Putt Putt Maru.
Robin Olds
Main article: Robin Olds
Robin Olds was the last P-38 ace in the Eighth Air Force and the last in the ETO. Flying a P-38J, he downed five German fighters on two separate missions over France and Germany. He subsequently transitioned to P-51s to make seven more kills. After World War II, he flew F-4 Phantom IIs in Vietnam, ending his career as brigadier general with 16 kills.
Clay Tice
A P-38 piloted by Clay Tice was the first American aircraft to land in Japan after VJ-Day, when he and his wingman set down on Nitagahara because his wingman was low on fuel.
Antoine de Saint-Exupéry
Noted aviation pioneer and writer Antoine de Saint-Exupéry vanished in a F-5B-1-LO, 42-68223, c/n 2734, of Groupe de Chasse II/33, out of Borgo-Porreta, Bastia, Corsica, a reconnaissance variant of the P-38, while on a flight over the Mediterranean, from Corsica to mainland France, on 31 July 1944. His health, both physical and mental (he was said to be intermittently subject to depression), had been deteriorating and there had been talk of taking him off flight status. There have been suggestions (although no proof to date) that this was a suicide rather than an aircraft failure or combat loss. In 2000, a French scuba diver found the wreckage of a Lightning in the Mediterranean off the coast of Marseille, and it was confirmed in April 2004 as Saint-Exupéry's F-5B. No evidence of air combat was found. In March 2008, a former Luftwaffe pilot, Horst Rippert from Jagdgruppe 200, claimed to have shot down Saint-Exupéry.
Adrian Warburton
The RAF's legendary photo-recon "ace", Wing Commander Adrian Warburton DSO DFC, was the pilot of a Lockheed P-38 borrowed from the USAAF that took off on 12 April 1944 to photograph targets in Germany. W/C Warburton failed to arrive at the rendezvous point and was never seen again. In 2003, his remains were recovered in Germany from his wrecked USAAF P-38 Lightning.
• • • • •
Quoting Smithsonian National Air and Space Museum | Boeing B-29 Superfortress "Enola Gay":
Boeing's B-29 Superfortress was the most sophisticated propeller-driven bomber of World War II and the first bomber to house its crew in pressurized compartments. Although designed to fight in the European theater, the B-29 found its niche on the other side of the globe. In the Pacific, B-29s delivered a variety of aerial weapons: conventional bombs, incendiary bombs, mines, and two nuclear weapons.
On August 6, 1945, this Martin-built B-29-45-MO dropped the first atomic weapon used in combat on Hiroshima, Japan. Three days later, Bockscar (on display at the U.S. Air Force Museum near Dayton, Ohio) dropped a second atomic bomb on Nagasaki, Japan. Enola Gay flew as the advance weather reconnaissance aircraft that day. A third B-29, The Great Artiste, flew as an observation aircraft on both missions.
Transferred from the United States Air Force.
Manufacturer:
Date:
1945
Country of Origin:
United States of America
Dimensions:
Overall: 900 x 3020cm, 32580kg, 4300cm (29ft 6 5/16in. x 99ft 1in., 71825.9lb., 141ft 15/16in.)
Materials:
Polished overall aluminum finish
Physical Description:
Four-engine heavy bomber with semi-monoqoque fuselage and high-aspect ratio wings. Polished aluminum finish overall, standard late-World War II Army Air Forces insignia on wings and aft fuselage and serial number on vertical fin; 509th Composite Group markings painted in black; "Enola Gay" in black, block letters on lower left nose.
Dedicated to a very special photographer and Flickr friend, Jill Coleman, who always inspires me to seek the truth...........
There is difficulty when photographing outdoors during periods of torrential downpours. Difficulty as in, keeping the camera dry with little more than a tiny umbrella and a plastic Target shopping bag.
No, I do not have any rain gear for my cam (yet) but that will be changing, soon. There's something peaceful, something magical about the effects of rain on the Earth. The landscape, the colors; so deep and rich with new life, new breath.
I have a feeling the new galoshes I purchased just before Spring arrived will be put to very good, very frequent use. Oh yes, I will see the rain and I will explore its effects on the land we call home.
........................................................
Press 'L' for ... Love
Claude MONET
France 1840 – 1926
Villas at Bordighera
[Les villas à Bordighera] 1884
oil on canvas
canvas 115.0 (h) x 130.0 (w) cm
Musée d'Orsay, Paris , Purchase with the joint assistance of the Fonds du Patrimoine, the Foundation Meyer and funds from an anonymous Canadian gift 2000
© RMN (Musée d'Orsay) / Hervé Lewandowski
PREVIOUS
The Italian village of Bordighera, a resort filled with gardens and palm trees, became popular in the 1880s as a destination for upper-class English and German travellers. Situated on the Mediterranean coast of Liguria, about twenty kilometres east of the French town of Menton, it attracted Monet and Auguste Renoir in 1883 in their search for new, paintable landscapes. Monet returned alone the following year, and painted more than forty views of the area, the town and its gardens. His energy was ferocious; at first he worked on four canvases each day, and between 24 January and 2 February 1884 he completed fourteen.1
Monet wanted to paint Mr Moreno’s garden in particular, and waited for letters of introduction. He visited on 5 February 1884, and began painting the famous palm trees, interrupted by various excursions around the town and to Monte Carlo. As always, the artist was frustrated by aesthetic and practical difficulties (the blues were difficult, the light changed, it rained). The shimmering golden pinks and blues seemed almost incredible, as Monet wrote to his companion Alice in Giverny:
Obviously people will exclaim at their untruthfulness, at madness, but too bad—they [also] say that when I paint our own climate. All that I do has the shimmering colours of a brandy flame or of a pigeon’s breast, yet even now I do it only timidly. I begin to get it.2
Villas at Bordighera is a variant version of another painting. It was made by Monet for his fellow Impressionist artist Berthe Morisot, it seems at the time, as a copy of an identical view, although at twice the size of the first painting.3 The off-centre composition and radically cropped elements such as trees and buildings point to the ineradicable example of Japanese woodblock prints, of which Monet was a keen collector. It is interesting how naturally such influences have been absorbed and are no longer an end in themselves. Instead, Monet searches for the southern light, the harsh whites and bright light blues which unify the tamed elements of garden and town with the unconquerable suffused colours of sky and mountains.
The subject of the ‘tourist view’ was not new in art, as Spate has pointed out—but Monet’s approach differs from the Salon’s more conventional renditions in ‘their resolutely anti-associational character. They do not evoke the past … and do not refer to the inhabitants of the landscape, or its uses. They are, indeed, mute records of places visited, icons of exotic sites … [and are] commodities.’4 Monet may therefore be the first painter of the avant-garde to bring his famous ‘eye’ to the business of promoting the safe exoticism of the Mediterranean for the sensory pleasures of modernity.
Christine Dixon
On the way to the Caverne Dufour and later on to the Piton des Neiges.
En route vers la Caverne Dufour et plus tard vers le Piton des Neiges.
Auf dem Weg zur Caverne Dufour und später zum Piton des Neiges.
The Piton des Neiges (Snow Peak) is a massive 3,069 m (10,069 ft) shield volcano on Réunion, one of the French volcanic islands in the Mascarene Archipelago in the southwestern Indian Ocean. It is located about 800 kilometres (500 mi) east of Madagascar. Piton des Neiges is the highest point on Réunion and is considered to be the highest point in the Indian Ocean. The volcano was formed by the Réunion hotspot and emerged from the sea about two million years ago. Now deeply eroded, the volcano has been inactive for 20,000 years and is surrounded by three massive crater valleys, the Cirques. Piton des Neiges forms the northwestern two thirds of Réunion, with the very active Piton de la Fournaise comprising the rest. Despite its name, snow (French: neige) practically never falls on the summit.
The volcanic island is considered to be about three million years old (Pliocene); the other two islands in the archipelago, Mauritius and Rodrigues, are 7.8 million (Miocene) and 1½ million (Pleistocene) years old, respectively. The island possesses a high endemism of flowering plants (about 225); this has justified the creation of a biological reserve on the lower slopes of the Piton des Neiges.
There are three medium-difficulty tracks leading up to the peak, one from the Cirque de Salazie, one from the Cirque de Cilaos and one from La Plaine des Cafres. They meet at a staffed mountain hut about an hour's walk below the peak at la Caverne Dufour. Walkers often arrive there after a long day trek up the mountain, and start out very early the next day to watch the sunrise from the summit. The hike can be done in a long one day 10-12 hour hike, but it is often preferable to make it a two-day hike - many hikers like to get up early on the second day and make the (easy) remaining ascent with torches, so as to see the sunrise from the mountaintop. The mountain hut offers heated indoor lodging, outdoor tent lodging, and meals. It is best to make reservations.
The hike starting from Cilaos is about 6.5 hours up and 4 hours down. To reach the start of the hike, drive through Cilaos toward la Mare à St Joseph. About 3 km (1.9 mi) past Cilaos, you will see a sign and some parking on both sides of the street. You may also leave your car downtown and follow the road to the trail head (sometimes there is no parking at the trail head). The hike is very steep (a climb of 1700m or 5,577 ft from trail head, almost 2000m or 6,562 ft from downtown), and one should be cautious if the trail is wet. The trail is well marked.
The hike starting from la Plaine des Cafres is about 8 hours up and 5 hours down with a change in elevation of 1700m (5,577 ft). To access the hike, follow RN3 past Le Tampon, all the way to La Plaine des Cafres and Bourg Murat. 2.5 km (1.6 mi) after Bourg Murat, take a left on the GR R2 road toward Savane Mare à Boue, follow for 2 km (1.2 mi) and park at the trail head. The trail is well marked.
(Wikipedia)
Le piton des Neiges est le point culminant de l'île de La Réunion, à 3 070 mètres d'altitude. Il est parfois considéré comme le point culminant de l'océan Indien, bien que cette affirmation soit discutable puisque des volcans de Sumatra, Java, Bali et Lombok sont plus élevés.
Il marque le sommet d'un édifice volcanique, le massif du Piton des Neiges, qui occupe les trois cinquièmes de la surface de l'île, avec un diamètre au niveau de la mer d'environ cinquante kilomètres.
Ce volcan serait né il y a au moins cinq millions d'années pour émerger de l'océan Indien il y a probablement plus de trois millions d'années, donnant ainsi naissance à l'île de La Réunion. Volcan complexe largement érodé, il n'est aujourd'hui plus en activité depuis plus de 12 000 ans.
Malgré son nom et la fraîcheur des températures en altitude, le piton des Neiges ne porte pas de neiges éternelles. Les chutes de neige y sont d'ailleurs très rares, brèves et souvent masquées par le mauvais temps. Il est ainsi très exceptionnel que l'on puisse observer le sommet enneigé. La montagne fut d'abord connue comme celles « des trois Salazes », mais il est possible que l'événement que constitua l'épisode d'enneigement de 1735 lui ait ensuite conféré son nom de piton des Neiges.
Le piton des Neiges se situe dans le centre de l'île de La Réunion, au sud du cirque de Salazie, au nord du cirque de Cilaos et au sud-est du cirque de Mafate. Culminant à 3 070 mètres d'altitude, il est le point culminant des Mascareignes et fait de La Réunion, la 17e plus haute île de la Terre.
La limite administrative entre les communes de Cilaos et de Salazie passe par le sommet du piton des Neiges.
Le piton des Neiges est entaillé par trois importantes dépressions : les cirques de Mafate (au nord-ouest), de Salazie (au nord-est) et Cilaos (au sud). Ces cirques sont le résultat conjugué de l'affaissement des chambres magmatiques de l'ancien cratère et de l'érosion due aux fortes précipitations que connaît l'île de la Réunion. On compte une quatrième dépression située à l'est : le cirque des Marsouins, qui a été comblée lors des dernières phases éruptives du piton des Neiges et aujourd'hui recouvert par les forêts de Bébour et de Bélouve.
L'ascension du piton des Neiges peut se faire depuis Salazie, Cilaos ou la plaine des Cafres. Trois sentiers convergent depuis ces points de départ jusqu'au gîte du Piton des Neiges, refuge en contrebas du sommet.
Depuis Salazie : à Hell-Bourg, il faut prendre le sentier qui débute derrière le stade puis monte à Terre-Plate et arrive au cap Anglais sur le plateau de Bélouve-Bébour. De là, on se dirige vers la caverne Dufour. Le sentier traverse des forêts de cryptomérias du Japon.
Depuis Cilaos : il faut d'abord traverser la forêt du Grand Matarum avant d'atteindre la caverne Dufour et son gîte hors de toute végétation notable. C'est le chemin le plus court mais le plus éprouvant.
Depuis la plaine des Cafres : départ à Mare à Boue (route bétonnée avant le col de Bellevue) puis direction vers le coteau Maigre et le coteau Kerveguen. Comme son nom l'indique, ce chemin est très humide, du fait de l'exposition du coteau plein est. Il est long mais facile et sauvage.
Ensuite, depuis le refuge de la caverne Dufour, il reste encore 600 mètres de dénivelé à parcourir sur un terrain rocheux. Il est habituel de quitter le refuge vers 3 heures du matin pour arriver au sommet aux premières lueurs du soleil, vers 6 heures. Ceci permet notamment d'observer dans la direction opposée au soleil, l'ombre triangulaire typique des sommets.
Le seul gîte sur le piton des Neiges est celui situé peu avant son sommet : le refuge de la caverne Dufour. Accessible uniquement à pied, il comporte plusieurs dortoirs, des toilettes, des douches, et offre un service de restauration.
Sur le sommet, il existe cinq ou six emplacements circulaires entourés de murets de pierre sèche permettant de poser une ou deux tentes à l'abri du vent. Cette possibilité tient plus du bivouac spartiate que du camping.
(Wikipedia)
Der Piton des Neiges (frz. ‚Schneegipfel‘) ist mit 3070 m der höchste Berg des französischen Übersee-Départements La Réunion und des Indischen Ozeans. Der Gipfel ist schneelos. An wenigen Tagen des Jahres ist er von Raureif überzogen, ganz selten mit etwas Schnee bedeckt. Vor etwa 5 Millionen Jahren bildete sich durch einen Hot-Spot auf dem Grund des Indischen Ozeans ein Vulkan. Mit dem Aufsteigen des Piton des Neiges bildete sich vor etwa drei Millionen Jahren die Insel La Réunion. Der Vulkan erhebt sich mehr als 7000 m über den Meeresgrund und hat an seiner Basis einen Umfang von 800 km. Damit ist er einer der größten Vulkane der Erde. Es wird vermutet, dass der Piton des Neiges einmal eine Höhe von 4.300 m hatte. Seine heutige Höhe hat er durch strombolianische Ausbrüche, Explosionen und intensive Erosion erhalten. Im Gegensatz zum deutlich jüngeren, noch aktiven Piton de la Fournaise ist er bereits vor ungefähr 12.000 Jahren erloschen.
Die entleerten Magmenkammern an den Flanken des Vulkans sind eingebrochen und bilden heute drei Calderen:
den Cirque de Mafate im Nordwesten,
den Cirque de Salazie im Nordosten und
den Cirque de Cilaos im Südwesten.
Diese drei Kessel machen mit ihren steilen Wänden einen großen Teil des Reizes von La Réunion aus.
Ursprünglich existierte noch der
Cirque de Marsouins im Osten des Berges. Dieser wurde jedoch bei den letzten Ausbrüchen mit Lava gefüllt und bildet heute den 1300 m hoch gelegenen und 6000 Hektar großen Fôret de Bélouve. In einer Flanke befindet sich ein etwa 250 Meter tiefer Absturz mit beeindruckenden Wasserfällen, das Trou de Fer.
Der Piton des Neiges ist als UNESCO-Weltnaturerbe klassifiziert.
Der Piton des Neiges wird vom Refuge de la Caverne Dufour (2479 m) aus bestiegen, das an den Grand Randonnées (GR) R1 und R2 liegt. Der Aufstieg erfolgt von der Hütte in 1½ Stunden über einen moderat ansteigenden Weg der über Fels- und Schuttfelder führt. Trittsicherheit ist erforderlich. Als besonderes Erlebnis gilt der Sonnenaufgang auf dem Piton des Neiges. Hierzu bricht man um 4:00 Uhr an der Hütte auf. Gutes Schuhwerk und warme Kleidung ist in allen Jahreszeiten dringend empfohlen.
Zum Refuge de la Caverne Dufour gelangt man am einfachsten vom südwestlich gelegenen Cirque de Cilaos aus. Von Cilaos folgt man der D241 Richtung Bras Sec. Bei 1380 m befindet sich ein Parkplatz. Man folgt den GR R1 und GR R2 und ist in etwa 3 Stunden beim Refuge.
Alternativ kommt man zum Refuge de la Caverne Dufour vom Cirque de Salazie. Der GR R1 führt von Hell Bourg in etwa 6 Stunden über das Cap Anglais zur Hütte.
Als dritte Alternative bietet sich der Aufstieg über den GR R2 von Südosten aus an.
(Wikipedia)
Technical difficulty at work resulting in me having to Babysit a vehicle for a while before it could be returned safely to the depot.
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A couple weeks ago I posted on the difficulties of spotting Oophaga lehmanni in the wild, and its threatened status (www.facebook.com/paul.bertner/posts/1954323497983506). After deliberating for a week, while cooped up with the flu and a sprained finger, and rummaging online for records of O. lehmanni, I was struck not only by the overall dearth, but by the almost complete lack of 'in situ' images, with not a single one illustrating behaviour or a decent representation of the environment. For a critically threatened species, one whose risk of extinction is quite high, this to me represented a tremendous oversight. Though I'd already tried and failed to capture some behaviour shots on a short previous expedition, I decided to dedicate a week to the endeavour, if for no other reason than to have a record befitting such an elegant species.
Travelling to the same site as before, I settled in to photograph calling behaviours. Setting aside a week to get this rather modest shot was giving myself quite a lot of latitude I thought...I was wrong. Three days in and I had little to show for my efforts, resorting to shooting at 300mm + 1.4X TC, I was still struggling to surprise this elusive gem. Though I could hear the frogs calling, and could even see them doing so, creeping up on them and getting a respectable photo was proving an altogether different kind of a problem.
I tried remote shooting (however they rarely returned to the same perch, causing the framing to be off), I tried hides (though after waiting 2-3hrs in mosquito infested areas with the slightest movement causing the frogs to go diving back into root tangles proved frustrating to say the least). Nothing seemed to work, and I was beginning to despair.
This begged the question, "Why would a poisonous species which supposedly has no known predators be so timid?" The answer somewhat surprised me, "researchers". Apparently the frequent capture-release monitoring of the local populations has resulted in a rather poignant behavioural change. A species which would otherwise be fearlessly hopping the rainforest understory has had its buzzing call muted. It was a potent reminder of our influence on the natural world, whether it represents a kind of Schroedinger's cat problem, in which our very observation and monitoring of a species ultimately impacts its natural behaviours, or whether it's something more intrusive or sinister like manipulation for an aesthetic image or poaching, respectively.
We have to go further in I told the guide. And so we walked, and we walked and still the frogs fell silent at the sound of our approaching footfalls. 6 hours later, 2 of which we left the already weedy trail completely to bushwhack, and we came to a spot where we crept up upon a calling frog. It continued its buzzing call despite undoubtedly having already seen us. I made sure to shoot without flash and with a long lens to prevent any kind of potential habituation/aversion. Moments later a second male appeared from behind a leaf and they immediately began to wrestle. They flipped one another repeatedly, interspersed with calls. Rather evenly matched, this went on for almost 15 minutes. Finally the victor held his ground, whilst the vanquished retreated from the hallowed ground.
Upon reviewing the photos and videos, I felt privileged to have witnessed such a behaviour from a vanishing species. This is perhaps even truer than I'd originally thought, the two males despite their verisimilitude actually appear to be different species/sub-species. While one has all the characteristics befitting O. lehmanni, the other whose white fingertips, slightly broadened head and differing banding patterns indicates some degree of hybridization with the very closely related Oophaga histrionica. Perhaps extinction will not come in the form of habitat loss or extinction (though harbour no illusions that this undoubtedly plays its role), but through hybridization, and its absorption into a larger more robust population. To purists and hobbyists this would still represent a tragedy, though perhaps it's a gentler swan song, a muting of a call rather than its abrupt silencing.
Photos from the Cauca Valley, Colombia.
pbertner.wordpress.com/ethical-exif-ee/
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EE Legend
-Health injury/stress levels (scale 1-10-->☠️)
👣-Translocation
⏳-time in captivity
📷 -in situ
- Manipulated subject
🎨 -Use of cloning or extensive post processing
↺ -Image rotation
Vladimir Semyonovich Vysotsky (Russian: Владимир Семёнович Высоцкий, IPA: [vlɐˈdʲimʲɪr sʲɪˈmʲɵnəvʲɪtɕ vɨˈsotskʲɪj]; 25 January 1938 – 25 July 1980), was a Soviet singer-songwriter, poet, and actor who had an immense and enduring effect on Soviet culture. He became widely known for his unique singing style and for his lyrics, which featured social and political commentary in often humorous street-jargon. He was also a prominent stage- and screen-actor. Though the official Soviet cultural establishment largely ignored his work, he was remarkably popular during his lifetime, and to this day exerts significant influence on many of Russia's musicians and actors.
Vysotsky was born in Moscow at the 3rd Meshchanskaya St. (61/2) maternity hospital. His father, Semyon Volfovich (Vladimirovich) (1915–1997), was a colonel in the Soviet army, originally from Kiev. Vladimir's mother, Nina Maksimovna, (née Seryogina, 1912–2003) was Russian, and worked as a German language translator.[3] Vysotsky's family lived in a Moscow communal flat in harsh conditions, and had serious financial difficulties. When Vladimir was 10 months old, Nina had to return to her office in the Transcript bureau of the Soviet Ministry of Geodesy and Cartography (engaged in making German maps available for the Soviet military) so as to help her husband earn their family's living.
Vladimir's theatrical inclinations became obvious at an early age, and were supported by his paternal grandmother Dora Bronshteyn, a theater fan. The boy used to recite poems, standing on a chair and "flinging hair backwards, like a real poet," often using in his public speeches expressions he could hardly have heard at home. Once, at the age of two, when he had tired of the family's guests' poetry requests, he, according to his mother, sat himself under the New-year tree with a frustrated air about him and sighed: "You silly tossers! Give a child some respite!" His sense of humor was extraordinary, but often baffling for people around him. A three-year-old could jeer his father in a bathroom with unexpected poetic improvisation ("Now look what's here before us / Our goat's to shave himself!") or appall unwanted guests with some street folk song, promptly steering them away. Vysotsky remembered those first three years of his life in the autobiographical Ballad of Childhood (Баллада о детстве, 1975), one of his best-known songs.
As World War II broke out, Semyon Vysotsky, a military reserve officer, joined the Soviet army and went to fight the Nazis. Nina and Vladimir were evacuated to the village of Vorontsovka, in Orenburg Oblast where the boy had to spend six days a week in a kindergarten and his mother worked for twelve hours a day in a chemical factory. In 1943, both returned to their Moscow apartment at 1st Meschanskaya St., 126. In September 1945, Vladimir joined the 1st class of the 273rd Moscow Rostokino region School.
In December 1946, Vysotsky's parents divorced. From 1947 to 1949, Vladimir lived with Semyon Vladimirovich (then an army Major) and his Armenian wife, Yevgenya Stepanovna Liholatova, whom the boy called "aunt Zhenya", at a military base in Eberswalde in the Soviet-occupied zone of Germany (later East Germany). "We decided that our son would stay with me. Vladimir came to stay with me in January 1947, and my second wife, Yevgenia, became Vladimir's second mother for many years to come. They had much in common and liked each other, which made me really happy," Semyon Vysotsky later remembered. Here living conditions, compared to those of Nina's communal Moscow flat, were infinitely better; the family occupied the whole floor of a two-storeyed house, and the boy had a room to himself for the first time in his life. In 1949 along with his stepmother Vladimir returned to Moscow. There he joined the 5th class of the Moscow 128th School and settled at Bolshoy Karetny [ru], 15 (where they had to themselves two rooms of a four-roomed flat), with "auntie Zhenya" (who was just 28 at the time), a woman of great kindness and warmth whom he later remembered as his second mother. In 1953 Vysotsky, now much interested in theater and cinema, joined the Drama courses led by Vladimir Bogomolov.[7] "No one in my family has had anything to do with arts, no actors or directors were there among them. But my mother admired theater and from the earliest age... each and every Saturday I've been taken up with her to watch one play or the other. And all of this, it probably stayed with me," he later reminisced. The same year he received his first ever guitar, a birthday present from Nina Maksimovna; a close friend, bard and a future well-known Soviet pop lyricist Igor Kokhanovsky taught him basic chords. In 1955 Vladimir re-settled into his mother's new home at 1st Meshchanskaya, 76. In June of the same year he graduated from school with five A's.
In 1955, Vladimir enrolled into the Moscow State University of Civil Engineering, but dropped out after just one semester to pursue an acting career. In June 1956 he joined Boris Vershilov's class at the Moscow Art Theatre Studio-Institute. It was there that he met the 3rd course student Iza Zhukova who four years later became his wife; soon the two lovers settled at the 1st Meschanskaya flat, in a common room, shielded off by a folding screen. It was also in the Studio that Vysotsky met Bulat Okudzhava for the first time, an already popular underground bard. He was even more impressed by his Russian literature teacher Andrey Sinyavsky who along with his wife often invited students to his home to stage improvised disputes and concerts. In 1958 Vysotsky's got his first Moscow Art Theatre role: that of Porfiry Petrovich in Dostoyevsky's Crime and Punishment. In 1959 he was cast in his first cinema role, that of student Petya in Vasily Ordynsky's The Yearlings (Сверстницы). On 20 June 1960, Vysotsky graduated from the MAT theater institute and joined the Moscow Pushkin Drama Theatre (led by Boris Ravenskikh at the time) where he spent (with intervals) almost three troubled years. These were marred by numerous administrative sanctions, due to "lack of discipline" and occasional drunken sprees which were a reaction, mainly, to the lack of serious roles and his inability to realise his artistic potential. A short stint in 1962 at the Moscow Theater of Miniatures (administered at the time by Vladimir Polyakov) ended with him being fired, officially "for a total lack of sense of humour."
Vysotsky's second and third films, Dima Gorin's Career and 713 Requests Permission to Land, were interesting only for the fact that in both he had to be beaten up (in the first case by Aleksandr Demyanenko). "That was the way cinema greeted me," he later jokingly remarked. In 1961, Vysotsky wrote his first ever proper song, called "Tattoo" (Татуировка), which started a long and colourful cycle of artfully stylized criminal underworld romantic stories, full of undercurrents and witty social comments. In June 1963, while shooting Penalty Kick (directed by Veniamin Dorman and starring Mikhail Pugovkin), Vysotsky used the Gorky Film Studio to record an hour-long reel-to-reel cassette of his own songs; copies of it quickly spread and the author's name became known in Moscow and elsewhere (although many of these songs were often being referred to as either "traditional" or "anonymous"). Just several months later Riga-based chess grandmaster Mikhail Tal was heard praising the author of "Bolshoy Karetny" (Большой Каретный) and Anna Akhmatova (in a conversation with Joseph Brodsky) was quoting Vysotsky's number "I was the soul of a bad company..." taking it apparently for some brilliant piece of anonymous street folklore. In October 1964 Vysotsky recorded in chronological order 48 of his own songs, his first self-made Complete works of... compilation, which boosted his popularity as a new Moscow folk underground star.
In 1964, director Yuri Lyubimov invited Vysotsky to join the newly created Taganka Theatre. "'I've written some songs of my own. Won't you listen?' – he asked. I agreed to listen to just one of them, expecting our meeting to last for no more than five minutes. Instead I ended up listening to him for an entire 1.5 hours," Lyubimov remembered years later of this first audition. On 19 September 1964, Vysotsky debuted in Bertolt Brecht's The Good Person of Szechwan as the Second God (not to count two minor roles). A month later he came on stage as a dragoon captain (Bela's father) in Lermontov's A Hero of Our Time. It was in Taganka that Vysotsky started to sing on stage; the War theme becoming prominent in his musical repertoire. In 1965 Vysotsky appeared in the experimental Poet and Theater (Поэт и Театр, February) show, based on Andrey Voznesensky's work and then Ten Days that Shook the World (after John Reed's book, April) and was commissioned by Lyubimov to write songs exclusively for Taganka's new World War II play. The Fallen and the Living (Павшие и Живые), premiered in October 1965, featured Vysotsky's "Stars" (Звёзды), "The Soldiers of Heeresgruppe Mitte" (Солдаты группы "Центр") and "Penal Battalions" (Штрафные батальоны), the striking examples of a completely new kind of a war song, never heard in his country before. As veteran screenwriter Nikolay Erdman put it (in conversation with Lyubimov), "Professionally, I can well understand how Mayakovsky or Seryozha Yesenin were doing it. How Volodya Vysotsky does it is totally beyond me." With his songs – in effect, miniature theatrical dramatizations (usually with a protagonist and full of dialogues), Vysotsky instantly achieved such level of credibility that real life former prisoners, war veterans, boxers, footballers refused to believe that the author himself had never served his time in prisons and labor camps, or fought in the War, or been a boxing/football professional. After the second of the two concerts at the Leningrad Molecular Physics institute (that was his actual debut as a solo musical performer) Vysotsky left a note for his fans in a journal which ended with words: "Now that you've heard all these songs, please, don't you make a mistake of mixing me with my characters, I am not like them at all. With love, Vysotsky, 20 April 1965, XX c." Excuses of this kind he had to make throughout his performing career. At least one of Vysotsky's song themes – that of alcoholic abuse – was worryingly autobiographical, though. By the time his breakthrough came in 1967, he'd suffered several physical breakdowns and once was sent (by Taganka's boss) to a rehabilitation clinic, a visit he on several occasions repeated since.
Brecht's Life of Galileo (premiered on 17 May 1966), transformed by Lyubimov into a powerful allegory of Soviet intelligentsia's set of moral and intellectual dilemmas, brought Vysotsky his first leading theater role (along with some fitness lessons: he had to perform numerous acrobatic tricks on stage). Press reaction was mixed, some reviewers disliked the actor's overt emotionalism, but it was for the first time ever that Vysotsky's name appeared in Soviet papers. Film directors now were treating him with respect. Viktor Turov's war film I Come from the Childhood where Vysotsky got his first ever "serious" (neither comical, nor villainous) role in cinema, featured two of his songs: a spontaneous piece called "When It's Cold" (Холода) and a dark, Unknown soldier theme-inspired classic "Common Graves" (На братских могилах), sung behind the screen by the legendary Mark Bernes.
Stanislav Govorukhin and Boris Durov's The Vertical (1967), a mountain climbing drama, starring Vysotsky (as Volodya the radioman), brought him all-round recognition and fame. Four of the numbers used in the film (including "Song of a Friend [fi]" (Песня о друге), released in 1968 by the Soviet recording industry monopolist Melodiya disc to become an unofficial hit) were written literally on the spot, nearby Elbrus, inspired by professional climbers' tales and one curious hotel bar conversation with a German guest who 25 years ago happened to climb these very mountains in a capacity of an Edelweiss division fighter. Another 1967 film, Kira Muratova's Brief Encounters featured Vysotsky as the geologist Maxim (paste-bearded again) with a now trademark off-the-cuff musical piece, a melancholy improvisation called "Things to Do" (Дела). All the while Vysotsky continued working hard at Taganka, with another important role under his belt (that of Mayakovsky or, rather one of the latter character's five different versions) in the experimental piece called Listen! (Послушайте!), and now regularly gave semi-official concerts where audiences greeted him as a cult hero.
In the end of 1967 Vysotsky got another pivotal theater role, that of Khlopusha [ru] in Pugachov (a play based on a poem by Sergei Yesenin), often described as one of Taganka's finest. "He put into his performance all the things that he excelled at and, on the other hand, it was Pugachyov that made him discover his own potential," – Soviet critic Natalya Krymova wrote years later. Several weeks after the premiere, infuriated by the actor's increasing unreliability triggered by worsening drinking problems, Lyubimov fired him – only to let him back again several months later (and thus begin the humiliating sacked-then-pardoned routine which continued for years). In June 1968 a Vysotsky-slagging campaign was launched in the Soviet press. First Sovetskaya Rossiya commented on the "epidemic spread of immoral, smutty songs," allegedly promoting "criminal world values, alcoholism, vice and immorality" and condemned their author for "sowing seeds of evil." Then Komsomolskaya Pravda linked Vysotsky with black market dealers selling his tapes somewhere in Siberia. Composer Dmitry Kabalevsky speaking from the Union of Soviet Composers' Committee tribune criticised the Soviet radio for giving an ideologically dubious, "low-life product" like "Song of a Friend" (Песня о друге) an unwarranted airplay. Playwright Alexander Stein who in his Last Parade play used several of Vysotsky's songs, was chastised by a Ministry of Culture official for "providing a tribune for this anti-Soviet scum." The phraseology prompted commentators in the West to make parallels between Vysotsky and Mikhail Zoschenko, another Soviet author who'd been officially labeled "scum" some 20 years ago.
Two of Vysotsky's 1968 films, Gennady Poloka's Intervention (premiered in May 1987) where he was cast as Brodsky, a dodgy even if highly artistic character, and Yevgeny Karelov's Two Comrades Were Serving (a gun-toting White Army officer Brusentsov who in the course of the film shoots his friend, his horse, Oleg Yankovsky's good guy character and, finally himself) – were severely censored, first of them shelved for twenty years. At least four of Vysotsky's 1968 songs, "Save Our Souls" (Спасите наши души), "The Wolfhunt" (Охота на волков), "Gypsy Variations" (Моя цыганская) and "The Steam-bath in White" (Банька по-белому), were hailed later as masterpieces. It was at this point that 'proper' love songs started to appear in Vysotsky's repertoire, documenting the beginning of his passionate love affair with French actress Marina Vlady.
In 1969 Vysotsky starred in two films: The Master of Taiga where he played a villainous Siberian timber-floating brigadier, and more entertaining Dangerous Tour. The latter was criticized in the Soviet press for taking a farcical approach to the subject of the Bolshevik underground activities but for a wider Soviet audience this was an important opportunity to enjoy the charismatic actor's presence on big screen. In 1970, after visiting the dislodged Soviet leader Nikita Khrushchev at his dacha and having a lengthy conversation with him, Vysotsky embarked on a massive and by Soviet standards dangerously commercial concert tour in Soviet Central Asia and then brought Marina Vlady to director Viktor Turov's place so as to investigate her Belarusian roots. The pair finally wed on 1 December 1970 (causing furore among the Moscow cultural and political elite) and spent a honeymoon in Georgia. This was the highly productive period for Vysotsky, resulting in numerous new songs, including the anthemic "I Hate" (Я не люблю), sentimental "Lyricale" (Лирическая) and dramatic war epics "He Didn't Return from the Battle" (Он не вернулся из боя) and "The Earth Song" (Песня о Земле) among many others.
In 1971 a drinking spree-related nervous breakdown brought Vysotsky to the Moscow Kashchenko clinic [ru]. By this time he has been suffering from alcoholism. Many of his songs from this period deal, either directly or metaphorically, with alcoholism and insanity. Partially recovered (due to the encouraging presence of Marina Vladi), Vysotsky embarked on a successful Ukrainian concert tour and wrote a cluster of new songs. On 29 November 1971 Taganka's Hamlet premiered, a groundbreaking Lyubimov's production with Vysotsky in the leading role, that of a lone intellectual rebel, rising to fight the cruel state machine.
Also in 1971 Vysotsky was invited to play the lead in The Sannikov Land, the screen adaptation of Vladimir Obruchev's science fiction,[47] which he wrote several songs for, but was suddenly dropped for the reason of his face "being too scandalously recognisable" as a state official put it. One of the songs written for the film, a doom-laden epic allegory "Capricious Horses" (Кони привередливые), became one of the singer's signature tunes. Two of Vysotsky's 1972 film roles were somewhat meditative: an anonymous American journalist in The Fourth One and the "righteous guy" von Koren in The Bad Good Man (based on Anton Chekov's Duel). The latter brought Vysotsky the Best Male Role prize at the V Taormina Film Fest. This philosophical slant rubbed off onto some of his new works of the time: "A Singer at the Microphone" (Певец у микрофона), "The Tightrope Walker" (Канатоходец), two new war songs ("We Spin the Earth", "Black Pea-Coats") and "The Grief" (Беда), a folkish girl's lament, later recorded by Marina Vladi and subsequently covered by several female performers. Popular proved to be his 1972 humorous songs: "Mishka Shifman" (Мишка Шифман), satirizing the leaving-for-Israel routine, "Victim of the Television" which ridiculed the concept of "political consciousness," and "The Honour of the Chess Crown" (Честь шахматной короны) about an ever-fearless "simple Soviet man" challenging the much feared American champion Bobby Fischer to a match.
In 1972 he stepped up in Soviet Estonian TV where he presented his songs and gave an interview. The name of the show was "Young Man from Taganka" (Noormees Tagankalt).
In April 1973 Vysotsky visited Poland and France. Predictable problems concerning the official permission were sorted after the French Communist Party leader Georges Marchais made a personal phone call to Leonid Brezhnev who, according to Marina Vlady's memoirs, rather sympathized with the stellar couple. Having found on return a potentially dangerous lawsuit brought against him (concerning some unsanctioned concerts in Siberia the year before), Vysotsky wrote a defiant letter to the Minister of Culture Pyotr Demichev. As a result, he was granted the status of a philharmonic artist, 11.5 roubles per concert now guaranteed. Still the 900 rubles fine had to be paid according to the court verdict, which was a substantial sum, considering his monthly salary at the theater was 110 rubles. That year Vysotsky wrote some thirty songs for "Alice in Wonderland," an audioplay where he himself has been given several minor roles. His best known songs of 1973 included "The Others' Track" (Чужая колея), "The Flight Interrupted" (Прерванный полёт) and "The Monument", all pondering on his achievements and legacy.
In 1974 Melodiya released the 7" EP, featuring four of Vysotsky's war songs ("He Never Returned From the Battle", "The New Times Song", "Common Graves", and "The Earth Song") which represented a tiny portion of his creative work, owned by millions on tape. In September of that year Vysotsky received his first state award, the Honorary Diploma of the Uzbek SSR following a tour with fellow actors from the Taganka Theatre in Uzbekistan. A year later he was granted the USSR Union of Cinematographers' membership. This meant he was not an "anti-Soviet scum" now, rather an unlikely link between the official Soviet cinema elite and the "progressive-thinking artists of the West." More films followed, among them The Only Road (a Soviet-Yugoslav joint venture, premiered on 10 January 1975 in Belgrade) and a science fiction movie The Flight of Mr. McKinley (1975). Out of nine ballads that he wrote for the latter only two have made it into the soundtrack. This was the height of his popularity, when, as described in Vlady's book about her husband, walking down the street on a summer night, one could hear Vysotsky's recognizable voice coming literally from every open window. Among the songs written at the time, were humorous "The Instruction before the Trip Abroad", lyrical "Of the Dead Pilot" and philosophical "The Strange House". In 1975 Vysotsky made his third trip to France where he rather riskily visited his former tutor (and now a celebrated dissident emigre) Andrey Sinyavsky. Artist Mikhail Shemyakin, his new Paris friend (or a "bottle-sharer", in Vladi's terms), recorded Vysotsky in his home studio. After a brief stay in England Vysotsky crossed the ocean and made his first Mexican concerts in April. Back in Moscow, there were changes at Taganka: Lyubimov went to Milan's La Scala on a contract and Anatoly Efros has been brought in, a director of radically different approach. His project, Chekhov's The Cherry Orchard, caused a sensation. Critics praised Alla Demidova (as Ranevskaya) and Vysotsky (as Lopakhin) powerful interplay, some describing it as one of the most dazzling in the history of the Soviet theater. Lyubimov, who disliked the piece, accused Efros of giving his actors "the stardom malaise." The 1976 Taganka's visit to Bulgaria resulted in Vysotskys's interview there being filmed and 15 songs recorded by Balkanton record label. On return Lyubimov made a move which many thought outrageous: declaring himself "unable to work with this Mr. Vysotsky anymore" he gave the role of Hamlet to Valery Zolotukhin, the latter's best friend. That was the time, reportedly, when stressed out Vysotsky started taking amphetamines.
Another Belorussian voyage completed, Marina and Vladimir went for France and from there (without any official permission given, or asked for) flew to the North America. In New York Vysotsky met, among other people, Mikhail Baryshnikov and Joseph Brodsky. In a televised one-hour interview with Dan Rather he stressed he was "not a dissident, just an artist, who's never had any intentions to leave his country where people loved him and his songs." At home this unauthorized venture into the Western world bore no repercussions: by this time Soviet authorities were divided as regards the "Vysotsky controversy" up to the highest level; while Mikhail Suslov detested the bard, Brezhnev loved him to such an extent that once, while in hospital, asked him to perform live in his daughter Galina's home, listening to this concert on the telephone. In 1976 appeared "The Domes", "The Rope" and the "Medieval" cycle, including "The Ballad of Love".
In September Vysotsky with Taganka made a trip to Yugoslavia where Hamlet won the annual BITEF festival's first prize, and then to Hungary for a two-week concert tour. Back in Moscow Lyubimov's production of The Master & Margarita featured Vysotsky as Ivan Bezdomny; a modest role, somewhat recompensed by an important Svidrigailov slot in Yury Karyakin's take on Dostoevsky's Crime and Punishment. Vysotsky's new songs of this period include "The History of Illness" cycle concerning his health problems, humorous "Why Did the Savages Eat Captain Cook", the metaphorical "Ballad of the Truth and the Lie", as well as "Two Fates", the chilling story of a self-absorbed alcoholic hunted by two malevolent witches, his two-faced destiny. In 1977 Vysotsky's health deteriorated (heart, kidneys, liver failures, jaw infection and nervous breakdown) to such an extent that in April he found himself in Moscow clinic's reanimation center in the state of physical and mental collapse.
In 1977 Vysotsky made an unlikely appearance in New York City on the American television show 60 Minutes, which falsely stated that Vysotsky had spent time in the Soviet prison system, the Gulag. That year saw the release of three Vysotsky's LPs in France (including the one that had been recorded by RCA in Canada the previous year); arranged and accompanied by guitarist Kostya Kazansky, the singer for the first time ever enjoyed the relatively sophisticated musical background. In August he performed in Hollywood before members of New York City film cast and (according to Vladi) was greeted warmly by the likes of Liza Minnelli and Robert De Niro. Some more concerts in Los Angeles were followed by the appearance at the French Communist paper L’Humanité annual event. In December Taganka left for France, its Hamlet (Vysotsky back in the lead) gaining fine reviews.
1978 started with the March–April series of concerts in Moscow and Ukraine. In May Vysotsky embarked upon a new major film project: The Meeting Place Cannot Be Changed (Место встречи изменить нельзя) about two detectives fighting crime in late 1940s Russia, directed by Stanislav Govorukhin. The film (premiered on 11 November 1978 on the Soviet Central TV) presented Vysotsky as Zheglov, a ruthless and charismatic cop teaching his milder partner Sharapov (actor Vladimir Konkin) his art of crime-solving. Vysotsky also became engaged in Taganka's Genre-seeking show (performing some of his own songs) and played Aleksander Blok in Anatoly Efros' The Lady Stranger (Незнакомка) radio play (premiered on air on 10 July 1979 and later released as a double LP).
In November 1978 Vysotsky took part in the underground censorship-defying literary project Metropolis, inspired and organized by Vasily Aksenov. In January 1979 Vysotsky again visited America with highly successful series of concerts. That was the point (according to biographer Vladimir Novikov) when a glimpse of new, clean life of a respectable international actor and performer all but made Vysotsky seriously reconsider his priorities. What followed though, was a return to the self-destructive theater and concert tours schedule, personal doctor Anatoly Fedotov now not only his companion, but part of Taganka's crew. "Who was this Anatoly? Just a man who in every possible situation would try to provide drugs. And he did provide. In such moments Volodya trusted him totally," Oksana Afanasyeva, Vysotsky's Moscow girlfriend (who was near him for most of the last year of his life and, on occasion, herself served as a drug courier) remembered. In July 1979, after a series of Central Asia concerts, Vysotsky collapsed, experienced clinical death and was resuscitated by Fedotov (who injected caffeine into the heart directly), colleague and close friend Vsevolod Abdulov helping with heart massage. In January 1980 Vysotsky asked Lyubimov for a year's leave. "Up to you, but on condition that Hamlet is yours," was the answer. The songwriting showed signs of slowing down, as Vysotsky began switching from songs to more conventional poetry. Still, of nearly 800 poems by Vysotsky only one has been published in the Soviet Union while he was alive. Not a single performance or interview was broadcast by the Soviet television in his lifetime.
In May 1979, being in a practice studio of the MSU Faculty of Journalism, Vysotsky recorded a video letter to American actor and film producer Warren Beatty, looking for both a personal meeting with Beatty and an opportunity to get a role in Reds film, to be produced and directed by the latter. While recording, Vysotsky made a few attempts to speak English, trying to overcome the language barrier. This video letter never reached Beatty. It was broadcast for the first time more than three decades later, on the night of 24 January 2013 (local time) by Rossiya 1 channel, along with records of TV channels of Italy, Mexico, Poland, USA and from private collections, in Vladimir Vysotsky. A letter to Warren Beatty film by Alexander Kovanovsky and Igor Rakhmanov. While recording this video, Vysotsky had a rare opportunity to perform for a camera, being still unable to do it with Soviet television.
On 22 January 1980, Vysotsky entered the Moscow Ostankino TV Center to record his one and only studio concert for the Soviet television. What proved to be an exhausting affair (his concentration lacking, he had to plod through several takes for each song) was premiered on the Soviet TV eight years later. The last six months of his life saw Vysotsky appearing on stage sporadically, fueled by heavy dosages of drugs and alcohol. His performances were often erratic. Occasionally Vysotsky paid visits to Sklifosofsky [ru] institute's ER unit, but would not hear of Marina Vlady's suggestions for him to take long-term rehabilitation course in a Western clinic. Yet he kept writing, mostly poetry and even prose, but songs as well. The last song he performed was the agonizing "My Sorrow, My Anguish" and his final poem, written one week prior to his death was "A Letter to Marina": "I'm less than fifty, but the time is short / By you and God protected, life and limb / I have a song or two to sing before the Lord / I have a way to make my peace with him."
Although several theories of the ultimate cause of the singer's death persist to this day, given what is now known about cardiovascular disease, it seems likely that by the time of his death Vysotsky had an advanced coronary condition brought about by years of tobacco, alcohol and drug abuse, as well as his grueling work schedule and the stress of the constant harassment by the government. Towards the end, most of Vysotsky's closest friends had become aware of the ominous signs and were convinced that his demise was only a matter of time. Clear evidence of this can be seen in a video ostensibly shot by the Japanese NHK channel only months before Vysotsky's death, where he appears visibly unwell, breathing heavily and slurring his speech. Accounts by Vysotsky's close friends and colleagues concerning his last hours were compiled in the book by V. Perevozchikov.
Vysotsky suffered from alcoholism for most of his life. Sometime around 1977, he started using amphetamines and other prescription narcotics in an attempt to counteract the debilitating hangovers and eventually to rid himself of alcohol addiction. While these attempts were partially successful, he ended up trading alcoholism for a severe drug dependency that was fast spiralling out of control. He was reduced to begging some of his close friends in the medical profession for supplies of drugs, often using his acting skills to collapse in a medical office and imitate a seizure or some other condition requiring a painkiller injection. On 25 July 1979 (a year to the day before his death) he suffered a cardiac arrest and was clinically dead for several minutes during a concert tour of Soviet Uzbekistan, after injecting himself with a wrong kind of painkiller he had previously obtained from a dentist's office.
Fully aware of the dangers of his condition, Vysotsky made several attempts to cure himself of his addiction. He underwent an experimental (and ultimately discredited) blood purification procedure offered by a leading drug rehabilitation specialist in Moscow. He also went to an isolated retreat in France with his wife Marina in the spring of 1980 as a way of forcefully depriving himself of any access to drugs. After these attempts failed, Vysotsky returned to Moscow to find his life in an increasingly stressful state of disarray. He had been a defendant in two criminal trials, one for a car wreck he had caused some months earlier, and one for an alleged conspiracy to sell unauthorized concert tickets (he eventually received a suspended sentence and a probation in the first case, and the charges in the second were dismissed, although several of his co-defendants were found guilty). He also unsuccessfully fought the film studio authorities for the rights to direct a movie called The Green Phaeton. Relations with his wife Marina were deteriorating, and he was torn between his loyalty to her and his love for his mistress Oksana Afanasyeva. He had also developed severe inflammation in one of his legs, making his concert performances extremely challenging.
In a final desperate attempt to overcome his drug addiction, partially prompted by his inability to obtain drugs through his usual channels (the authorities had imposed a strict monitoring of the medical institutions to prevent illicit drug distribution during the 1980 Olympics), he relapsed into alcohol and went on a prolonged drinking binge (apparently consuming copious amounts of champagne due to a prevalent misconception at the time that it was better than vodka at countering the effects of drug withdrawal).
On 3 July 1980, Vysotsky gave a performance at a suburban Moscow concert hall. One of the stage managers recalls that he looked visibly unhealthy ("gray-faced", as she puts it) and complained of not feeling too good, while another says she was surprised by his request for champagne before the start of the show, as he had always been known for completely abstaining from drink before his concerts. On 16 July Vysotsky gave his last public concert in Kaliningrad. On 18 July, Vysotsky played Hamlet for the last time at the Taganka Theatre. From around 21 July, several of his close friends were on a round-the-clock watch at his apartment, carefully monitoring his alcohol intake and hoping against all odds that his drug dependency would soon be overcome and they would then be able to bring him back from the brink. The effects of drug withdrawal were clearly getting the better of him, as he got increasingly restless, moaned and screamed in pain, and at times fell into memory lapses, failing to recognize at first some of his visitors, including his son Arkadiy. At one point, Vysotsky's personal physician A. Fedotov (the same doctor who had brought him back from clinical death a year earlier in Uzbekistan) attempted to sedate him, inadvertently causing asphyxiation from which he was barely saved. On 24 July, Vysotsky told his mother that he thought he was going to die that day, and then made similar remarks to a few of the friends present at the apartment, who begged him to stop such talk and keep his spirits up. But soon thereafter, Oksana Afanasyeva saw him clench his chest several times, which led her to suspect that he was genuinely suffering from a cardiovascular condition. She informed Fedotov of this but was told not to worry, as he was going to monitor Vysotsky's condition all night. In the evening, after drinking relatively small amounts of alcohol, the moaning and groaning Vysotsky was sedated by Fedotov, who then sat down on the couch next to him but fell asleep. Fedotov awoke in the early hours of 25 July to an unusual silence and found Vysotsky dead in his bed with his eyes wide open, apparently of a myocardial infarction, as he later certified. This was contradicted by Fedotov's colleagues, Sklifosovsky Emergency Medical Institute physicians L. Sul'povar and S. Scherbakov (who had demanded the actor's immediate hospitalization on 23 July but were allegedly rebuffed by Fedotov), who insisted that Fedotov's incompetent sedation combined with alcohol was what killed Vysotsky. An autopsy was prevented by Vysotsky's parents (who were eager to have their son's drug addiction remain secret), so the true cause of death remains unknown.
No official announcement of the actor's death was made, only a brief obituary appeared in the Moscow newspaper Vechernyaya Moskva, and a note informing of Vysotsky's death and cancellation of the Hamlet performance was put out at the entrance to the Taganka Theatre (the story goes that not a single ticket holder took advantage of the refund offer). Despite this, by the end of the day, millions had learned of Vysotsky's death. On 28 July, he lay in state at the Taganka Theatre. After a mourning ceremony involving an unauthorized mass gathering of unprecedented scale, Vysotsky was buried at the Vagankovskoye Cemetery in Moscow. The attendance at the Olympic events dropped noticeably on that day, as scores of spectators left to attend the funeral. Tens of thousands of people lined the streets to catch a glimpse of his coffin.
According to author Valery Perevozchikov part of the blame for his death lay with the group of associates who surrounded him in the last years of his life. This inner circle were all people under the influence of his strong character, combined with a material interest in the large sums of money his concerts earned. This list included Valerii Yankelovich, manager of the Taganka Theatre and prime organiser of his non-sanctioned concerts; Anatoly Fedotov, his personal doctor; Vadim Tumanov, gold prospector (and personal friend) from Siberia; Oksana Afanasyeva (later Yarmolnik), his mistress the last three years of his life; Ivan Bortnik, a fellow actor; and Leonid Sul'povar, a department head at the Sklifosovski hospital who was responsible for much of the supply of drugs.
Vysotsky's associates had all put in efforts to supply his drug habit, which kept him going in the last years of his life. Under their influence, he was able to continue to perform all over the country, up to a week before his death. Due to illegal (i.e. non-state-sanctioned) sales of tickets and other underground methods, these concerts pulled in sums of money unimaginable in Soviet times, when almost everyone received nearly the same small salary. The payouts and gathering of money were a constant source of danger, and Yankelovich and others were needed to organise them.
Some money went to Vysotsky, the rest was distributed amongst this circle. At first this was a reasonable return on their efforts; however, as his addiction progressed and his body developed resistance, the frequency and amount of drugs needed to keep Vysotsky going became unmanageable. This culminated at the time of the Moscow Olympics which coincided with the last days of his life, when supplies of drugs were monitored more strictly than usual, and some of the doctors involved in supplying Vysotsky were already behind bars (normally the doctors had to account for every ampule, thus drugs were transferred to an empty container, while the patients received a substitute or placebo instead). In the last few days Vysotsky became uncontrollable, his shouting could be heard all over the apartment building on Malaya Gruzinskaya St. where he lived amongst VIP's. Several days before his death, in a state of stupor he went on a high speed drive around Moscow in an attempt to obtain drugs and alcohol – when many high-ranking people saw him. This increased the likelihood of him being forcibly admitted to the hospital, and the consequent danger to the circle supplying his habit. As his state of health declined, and it became obvious that he might die, his associates gathered to decide what to do with him. They came up with no firm decision. They did not want him admitted officially, as his drug addiction would become public and they would fall under suspicion, although some of them admitted that any ordinary person in his condition would have been admitted immediately.
On Vysotsky's death his associates and relatives put in much effort to prevent a post-mortem being carried out. This despite the fairly unusual circumstances: he died aged 42 under heavy sedation with an improvised cocktail of sedatives and stimulants, including the toxic chloral hydrate, provided by his personal doctor who had been supplying him with narcotics the previous three years. This doctor, being the only one present at his side when death occurred, had a few days earlier been seen to display elementary negligence in treating the sedated Vysotsky. On the night of his death, Arkadii Vysotsky (his son), who tried to visit his father in his apartment, was rudely refused entry by Yankelovich, even though there was a lack of people able to care for him. Subsequently, the Soviet police commenced a manslaughter investigation which was dropped due to the absence of evidence taken at the time of death.
Vysotsky's first wife was Iza Zhukova. They met in 1956, being both MAT theater institute students, lived for some time at Vysotsky's mother's flat in Moscow, after her graduation (Iza was 2 years older) spent months in different cities (her – in Kiev, then Rostov) and finally married on 25 April 1960.
He met his second wife Lyudmila Abramova in 1961, while shooting the film 713 Requests Permission to Land. They married in 1965 and had two sons, Arkady (born 1962) and Nikita (born 1964).
While still married to Lyudmila Abramova, Vysotsky began a romantic relationship with Tatyana Ivanenko, a Taganka actress, then, in 1967 fell in love with Marina Vlady, a French actress of Russian descent, who was working at Mosfilm on a joint Soviet-French production at that time. Marina had been married before and had three children, while Vladimir had two. They were married in 1969. For 10 years the two maintained a long-distance relationship as Marina compromised her career in France to spend more time in Moscow, and Vladimir's friends pulled strings for him to be allowed to travel abroad to stay with his wife. Marina eventually joined the Communist Party of France, which essentially gave her an unlimited-entry visa into the Soviet Union, and provided Vladimir with some immunity against prosecution by the government, which was becoming weary of his covertly anti-Soviet lyrics and his odds-defying popularity with the masses. The problems of his long-distance relationship with Vlady inspired several of Vysotsky's songs.
In the autumn of 1981 Vysotsky's first collection of poetry was officially published in the USSR, called The Nerve (Нерв). Its first edition (25,000 copies) was sold out instantly. In 1982 the second one followed (100,000), then the 3rd (1988, 200,000), followed in the 1990s by several more. The material for it was compiled by Robert Rozhdestvensky, an officially laurelled Soviet poet. Also in 1981 Yuri Lyubimov staged at Taganka a new music and poetry production called Vladimir Vysotsky which was promptly banned and officially premiered on 25 January 1989.
In 1982 the motion picture The Ballad of the Valiant Knight Ivanhoe was produced in the Soviet Union and in 1983 the movie was released to the public. Four songs by Vysotsky were featured in the film.
In 1986 the official Vysotsky poetic heritage committee was formed (with Robert Rozhdestvensky at the helm, theater critic Natalya Krymova being both the instigator and the organizer). Despite some opposition from the conservatives (Yegor Ligachev was the latter's political leader, Stanislav Kunyaev of Nash Sovremennik represented its literary flank) Vysotsky was rewarded posthumously with the USSR State Prize. The official formula – "for creating the character of Zheglov and artistic achievements as a singer-songwriter" was much derided from both the left and the right. In 1988 the Selected Works of... (edited by N. Krymova) compilation was published, preceded by I Will Surely Return... (Я, конечно, вернусь...) book of fellow actors' memoirs and Vysotsky's verses, some published for the first time. In 1990 two volumes of extensive The Works of... were published, financed by the late poet's father Semyon Vysotsky. Even more ambitious publication series, self-proclaimed "the first ever academical edition" (the latter assertion being dismissed by sceptics) compiled and edited by Sergey Zhiltsov, were published in Tula (1994–1998, 5 volumes), Germany (1994, 7 volumes) and Moscow (1997, 4 volumes).
In 1989 the official Vysotsky Museum opened in Moscow, with the magazine of its own called Vagant (edited by Sergey Zaitsev) devoted entirely to Vysotsky's legacy. In 1996 it became an independent publication and was closed in 2002.
In the years to come, Vysotsky's grave became a site of pilgrimage for several generations of his fans, the youngest of whom were born after his death. His tombstone also became the subject of controversy, as his widow had wished for a simple abstract slab, while his parents insisted on a realistic gilded statue. Although probably too solemn to have inspired Vysotsky himself, the statue is believed by some to be full of metaphors and symbols reminiscent of the singer's life.
In 1995 in Moscow the Vysotsky monument was officially opened at Strastnoy Boulevard, by the Petrovsky Gates. Among those present were the bard's parents, two of his sons, first wife Iza, renown poets Yevtushenko and Voznesensky. "Vysotsky had always been telling the truth. Only once he was wrong when he sang in one of his songs: 'They will never erect me a monument in a square like that by Petrovskye Vorota'", Mayor of Moscow Yuri Luzhkov said in his speech.[95] A further monument to Vysotsky was erected in 2014 at Rostov-on-Don.
In October 2004, a monument to Vysotsky was erected in the Montenegrin capital of Podgorica, near the Millennium Bridge. His son, Nikita Vysotsky, attended the unveiling. The statue was designed by Russian sculptor Alexander Taratinov, who also designed a monument to Alexander Pushkin in Podgorica. The bronze statue shows Vysotsky standing on a pedestal, with his one hand raised and the other holding a guitar. Next to the figure lies a bronze skull – a reference to Vysotsky's monumental lead performances in Shakespeare's Hamlet. On the pedestal the last lines from a poem of Vysotsky's, dedicated to Montenegro, are carved.
The Vysotsky business center & semi-skyscraper was officially opened in Yekaterinburg, in 2011. It is the tallest building in Russia outside of Moscow, has 54 floors, total height: 188.3 m (618 ft). On the third floor of the business center is the Vysotsky Museum. Behind the building is a bronze sculpture of Vladimir Vysotsky and his third wife, a French actress Marina Vlady.
In 2011 a controversial movie Vysotsky. Thank You For Being Alive was released, script written by his son, Nikita Vysotsky. The actor Sergey Bezrukov portrayed Vysotsky, using a combination of a mask and CGI effects. The film tells about Vysotsky's illegal underground performances, problems with KGB and drugs, and subsequent clinical death in 1979.
Shortly after Vysotsky's death, many Russian bards started writing songs and poems about his life and death. The best known are Yuri Vizbor's "Letter to Vysotsky" (1982) and Bulat Okudzhava's "About Volodya Vysotsky" (1980). In Poland, Jacek Kaczmarski based some of his songs on those of Vysotsky, such as his first song (1977) was based on "The Wolfhunt", and dedicated to his memory the song "Epitafium dla Włodzimierza Wysockiego" ("Epitaph for Vladimir Vysotsky").
Every year on Vysotsky's birthday festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky's impact in Russia is often compared to that of Wolf Biermann in Germany, Bob Dylan in America, or Georges Brassens and Jacques Brel in France.
The asteroid 2374 Vladvysotskij, discovered by Lyudmila Zhuravleva, was named after Vysotsky.
During the Annual Q&A Event Direct Line with Vladimir Putin, Alexey Venediktov asked Putin to name a street in Moscow after the singer Vladimir Vysotsky, who, though considered one of the greatest Russian artists, has no street named after him in Moscow almost 30 years after his death. Venediktov stated a Russian law that allowed the President to do so and promote a law suggestion to name a street by decree. Putin answered that he would talk to Mayor of Moscow and would solve this problem. In July 2015 former Upper and Lower Tagansky Dead-ends (Верхний и Нижний Таганские тупики) in Moscow were reorganized into Vladimir Vysotsky Street.
The Sata Kieli Cultural Association, [Finland], organizes the annual International Vladimir Vysotsky Festival (Vysotski Fest), where Vysotsky's singers from different countries perform in Helsinki and other Finnish cities. They sing Vysotsky in different languages and in different arrangements.
Two brothers and singers from Finland, Mika and Turkka Mali, over the course of their more than 30-year musical career, have translated into Finnish, recorded and on numerous occasions publicly performed songs of Vladimir Vysotsky.
Throughout his lengthy musical career, Jaromír Nohavica, a famed Czech singer, translated and performed numerous songs of Vladimir Vysotsky, most notably Песня о друге (Píseň o příteli – Song about a friend).
The Museum of Vladimir Vysotsky in Koszalin dedicated to Vladimir Vysotsky was founded by Marlena Zimna (1969–2016) in May 1994, in her apartment, in the city of Koszalin, in Poland. Since then the museum has collected over 19,500 exhibits from different countries and currently holds Vladimir Vysotsky' personal items, autographs, drawings, letters, photographs and a large library containing unique film footage, vinyl records, CDs and DVDs. A special place in the collection holds a Vladimir Vysotsky's guitar, on which he played at a concert in Casablanca in April 1976. Vladimir Vysotsky presented this guitar to Moroccan journalist Hassan El-Sayed together with an autograph (an extract from Vladimir Vysotsky's song "What Happened in Africa"), written in Russian right on the guitar.
In January 2023, a monument to the outstanding actor, singer and poet Vladimir Vysotsky was unveiled in Yuzhno-Sakhalinsk, in the square near the Rodina House of Culture. Author Vladimir Chebotarev.
After her husband's death, urged by her friend Simone Signoret, Marina Vlady wrote a book called The Aborted Flight about her years together with Vysotsky. The book paid tribute to Vladimir's talent and rich persona, yet was uncompromising in its depiction of his addictions and the problems that they caused in their marriage. Written in French (and published in France in 1987), it was translated into Russian in tandem by Vlady and a professional translator and came out in 1989 in the USSR. Totally credible from the specialists' point of view, the book caused controversy, among other things, by shocking revelations about the difficult father-and-son relationship (or rather, the lack of any), implying that Vysotsky-senior (while his son was alive) was deeply ashamed of him and his songs which he deemed "anti-Soviet" and reported his own son to the KGB. Also in 1989 another important book of memoirs was published in the USSR, providing a bulk of priceless material for the host of future biographers, Alla Demidova's Vladimir Vysotsky, the One I Know and Love. Among other publications of note were Valery Zolotukhin's Vysotsky's Secret (2000), a series of Valery Perevozchikov's books (His Dying Hour, The Unknown Vysotsky and others) containing detailed accounts and interviews dealing with the bard's life's major controversies (the mystery surrounding his death, the truth behind Vysotsky Sr.'s alleged KGB reports, the true nature of Vladimir Vysotsky's relations with his mother Nina's second husband Georgy Bartosh etc.), Iza Zhukova's Short Happiness for a Lifetime and the late bard's sister-in-law Irena Vysotskaya's My Brother Vysotsky. The Beginnings (both 2005).
A group of enthusiasts has created a non-profit project – the mobile application "Vysotsky"
The multifaceted talent of Vysotsky is often described by the term "bard" (бард) that Vysotsky has never been enthusiastic about. He thought of himself mainly as an actor and poet rather than a singer, and once remarked, "I do not belong to what people call bards or minstrels or whatever." With the advent of portable tape-recorders in the Soviet Union, Vysotsky's music became available to the masses in the form of home-made reel-to-reel audio tape recordings (later on cassette tapes).
Vysotsky accompanied himself on a Russian seven-string guitar, with a raspy voice singing ballads of love, peace, war, everyday Soviet life and of the human condition. He was largely perceived as the voice of honesty, at times sarcastically jabbing at the Soviet government, which made him a target for surveillance and threats. In France, he has been compared with Georges Brassens; in Russia, however, he was more frequently compared with Joe Dassin, partly because they were the same age and died in the same year, although their ideologies, biographies, and musical styles are very different. Vysotsky's lyrics and style greatly influenced Jacek Kaczmarski, a Polish songwriter and singer who touched on similar themes.
The songs – over 600 of them – were written about almost any imaginable theme. The earliest were blatnaya pesnya ("outlaw songs"). These songs were based either on the life of the common people in Moscow or on life in the crime people, sometimes in Gulag. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war, but rather to expose the listener to the emotions of those in extreme, life-threatening situations. Most Soviet veterans would say that Vysotsky's war songs described the truth of war far more accurately than more official "patriotic" songs.
Nearly all of Vysotsky's songs are in the first person, although he is almost never the narrator. When singing his criminal songs, he would adopt the accent and intonation of a Moscow thief, and when singing war songs, he would sing from the point of view of a soldier. In many of his philosophical songs, he adopted the role of inanimate objects. This created some confusion about Vysotsky's background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet played his role so well that until told otherwise, many of his fans believed that he was, indeed, a criminal or war veteran. Vysotsky's father said that "War veterans thought the author of the songs to be one of them, as if he had participated in the war together with them." The same could be said about mountain climbers; on multiple occasions, Vysotsky was sent pictures of mountain climbers' graves with quotes from his lyrics etched on the tombstones.
Not being officially recognized as a poet and singer, Vysotsky performed wherever and whenever he could – in the theater (where he worked), at universities, in private apartments, village clubs, and in the open air. It was not unusual for him to give several concerts in one day. He used to sleep little, using the night hours to write. With few exceptions, he wasn't allowed to publish his recordings with "Melodiya", which held a monopoly on the Soviet music industry. His songs were passed on through amateur, fairly low quality recordings on vinyl discs and magnetic tape, resulting in his immense popularity. Cosmonauts even took his music on cassette into orbit.
Musically, virtually all of Vysotsky's songs were written in a minor key, and tended to employ from three to seven chords. Vysotsky composed his songs and played them exclusively on the Russian seven string guitar, often tuned a tone or a tone-and-a-half below the traditional Russian "Open G major" tuning. This guitar, with its specific Russian tuning, makes a slight yet notable difference in chord voicings than the standard tuned six string Spanish (classical) guitar, and it became a staple of his sound. Because Vysotsky tuned down a tone and a half, his strings had less tension, which also colored the sound.
His earliest songs were usually written in C minor (with the guitar tuned a tone down from DGBDGBD to CFACFAC)
Songs written in this key include "Stars" (Zvyozdy), "My friend left for Magadan" (Moy drug uyekhal v Magadan), and most of his "outlaw songs".
At around 1970, Vysotsky began writing and playing exclusively in A minor (guitar tuned to CFACFAC), which he continued doing until his death.
Vysotsky used his fingers instead of a pick to pluck and strum, as was the tradition with Russian guitar playing. He used a variety of finger picking and strumming techniques. One of his favorite was to play an alternating bass with his thumb as he plucked or strummed with his other fingers.
Often, Vysotsky would neglect to check the tuning of his guitar, which is particularly noticeable on earlier recordings. According to some accounts, Vysotsky would get upset when friends would attempt to tune his guitar, leading some to believe that he preferred to play slightly out of tune as a stylistic choice. Much of this is also attributable to the fact that a guitar that is tuned down more than 1 whole step (Vysotsky would sometimes tune as much as 2 and a half steps down) is prone to intonation problems.
Vysotsky had a unique singing style. He had an unusual habit of elongating consonants instead of vowels in his songs. So when a syllable is sung for a prolonged period of time, he would elongate the consonant instead of the vowel in that syllable.