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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.
I bought the famous Nikkor 105mm f/ 2.8 macro lens about one month ago.
I thought that I would take fantastic photos, but everyday is a great frustration...
Does someone have a little idea about how to focus well with this lens?
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
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.
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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
The United Kingdom operated the McDonnell Douglas F-4 Phantom II as one of its principal combat aircraft from the 1960s to the early 1990s. The UK was the first export customer for the Phantom, which was ordered in the context of political and economic difficulties around indigenous British designs for the roles that it was eventually purchased to undertake. The Phantom was procured to serve in both the Fleet Air Arm and Royal Air Force in several roles including air defence, close air support, low-level strike and tactical reconnaissance.
Although assembled in the United States, the UK's Phantoms were a special batch built separately and containing a significant amount of British technology as a means of easing the pressure on the domestic aerospace industry in the wake of major project cancellations. Two individual variants were eventually built for the UK; the F-4K variant was designed from the outset as an air defence interceptor to be operated by the Fleet Air Arm from the Royal Navy's aircraft carriers, while the F-4M version was procured for the RAF to serve in the tactical strike and reconnaissance roles. In the mid-1980s, a third Phantom variant was obtained when a quantity of second-hand F-4J aircraft were purchased to augment the UK's air defences following the Falklands War.
The Phantom entered service with both the Fleet Air Arm and the RAF in 1969; while in the Royal Navy it had a secondary strike role in addition to its primary use for fleet air defence, in the RAF it was soon replaced in the strike role by other aircraft designed specifically for strike and close air support missions, and by the mid-1970s was transferred to become the UK's principal interceptor, a role in which it continued until the late 1980s.
Phantom XT914 was one of the last RAF fighter jets to be based at Wattisham before the station was handed over to the Army in 1993 and has since become home to the Army’s Apache attack helicopters.
Wattisham’s 74 (Tiger) and 56 (Firebirds) Squadrons had been the last units to operate the Phantom and XT914 flew displays to celebrate the fighter jet’s retirement from the RAF in 1992. After its last flight, the aircraft was saved from the scrap yard to stand as a gate guardian at RAF Leeming, North Yorks, and then at RAF Brampton, Cambs.
With RAF Brampton closing in 2013, it was decided to return the Phantom to its former home at Wattisham for refurbishment before going on display at the Wattisham Heritage Museum.
Technical difficulty at work resulting in me having to Babysit a vehicle for a while before it could be returned safely to the depot.
A Cumbres Turn hammers up the 4% grade at Hamilton's Point on a chilly morning in September. This location is believed to have been named for L.C.Hamilton, a D&RG Division Superintendent back in the late 1880s, and is approximately three and a half miles and 800 vertical feet from Cumbres Summit. When the Denver & Rio Grande Western ran freight operations on this line, typical freight trains were quite long. Given the difficulty of running such trains up the long, 4% grade from Chama, the consists were often brought up in several sections, usually with helper engines, and then re-assembled in the yard at the top of the hill. Once past Cumbres Summit, long trains could operate with fewer locomotives as the rest of the run to Antonito is largely downhill, or on level ground.
This image was captured during a September 2011 photo shoot on the Cumbres & Toltec Scenic Railroad, organized by Lerro Photography. It depicts D&RGW K-36 Locomotive #487 with a freight passing Milepost 334.5 with the Chama Valley as a back-drop.
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Credits:
Hair: +Spellbound+ Lux
Dress: -Pixicat- Wonderland.Dress nr.1 - Pink (s) @ARCADE
Mesh Head: VCO _ Fairy mesh Head _ [Pixie] _ 02@ARCADE
Gloves: 05.erratic / aea - cora - gloves @ARCADE
Goat: +Half-Deer+ Dik-Dik - Strawberry @ARCADE
Took this shot hiking on a very slippery Gorge trail in Acadia NP. I pushed the film one stop as the light was fading. I am happy with the resulting photo. Unfortunately, I had difficulties getting this roll of film on the spool during developments and the film suffered some damage in the process, see the green "ghosts" that were the result.
None the less, I still like the shot.
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.
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
The difficulty about this shot was to stand in the middle of the dome's interior since it's floor bears several historical flags which makes it the most popular photo spot for tourists. I simply can't hold myself from shooting dome interiors with my fisheye lens, click here for a less political example.
The difficulty with photographing something like Gods Own Junkyard is finding some kind of formal structure or composition for the images. On the basis that it's a chaotic Aladdin's Cave of a space for this shot I decided not to even try..........
Gods Own Junkyard is tucked away on an un-prepossessing Industrial Estate in Walthamstow, E17. Their family owned neon Art Gallery is well worth hunting down even if they don't allow photography with DLSR's (albeit I couldn't resist sneaking a few......). On a practical note, it's only open to the public Friday to Sunday and the Rolling Scones cafe contained inside is pretty good.
You can see more neon in my 'Signs' set : www.flickr.com/photos/darrellg/albums/72157627918592935
From www.godsownjunkyard.co.uk : "Chris Bracey has been the Neon Man for 37 years creating iconic artpieces for David la chappelle, Martin Creed etc. With a cult following in London and Los Angeles. New & used neon fantasies, salvaged signs, reclaimed neon signs, old movie props and retro displays. Neon art made from found objects, retrieved and renewed waste and lights. Fairground & circus lighting, architectural sign salvage. Led & cold cathode luxury products. Designers & makers of all things with light.
Chris has made, installed and collected signs that have appeared behind some of the greatest stars. Tom Cruise in Eyes Wide Shut, Johnny Depp in Charlie and the Chocolate Factory, Jack Nicholson in Batman are just a few that have appeared alongside the collection. When the film is rapped neons are discarded like yesterdays newspapers, unwanted, unloved. Chris has collected these neon and bulb icons and salvages old neons and architectural advertising from the streets before they disappear forever. Repaired and resurrected, coupled with quirky art and powered up to shine like jewels of light. Icons in their own right, Gods own junk yard where neon never dies."
Whilst you're here, for those that live in and around London, you might be interested to know I'm an Admin of the new London Flickr Group which we've started to replace the group which mysteriously disappeared at New Year. You can find us here : www.flickr.com/groups/londonflickrgroup
My Website : Twitter : Facebook : Instagram : Photocrowd
© D.Godliman
Wakefield Kirkgate
1Z37 working from Carlisle to Leeds with 37419/423 ran into difficulties when 419 overheated.
eventually removing the errant loco at Kirkby Thore, 423 tackled the s&c with 11 bogies and 2 dead 66s.
fire alarms on 423 caused more delays.
The tour then missed out Leeds and I went to Wakefield kirkate to relive 1Z37.
After reversal and into the down goods load 37423 was detached and went light to Knottingley.
As this driver stayed with the loco unfortunately it made his hours too long for the following day and some route was sadly lost today (Saturday)
1Z37 then went into Europort. but had to leave straight away as any moves would have delayed a commercial intermodal service.
Arriving in York some 2hrs late then 5Z37 to Knottingley. 37423 was waiting and a hastily arranged 37422 from York had also arrived.
next job was get some pics! water the stock. remove the 66s and place the 37s for the morning departure.
it turned into a long evening, but worth every minute.
Seem arriving into platform 2 I'm about to grab a radio before jumping into 66044 for the reversal.
The difficulty I feel about Italy is the harsh light on the row of buildings in the narrow streets. Usually one side of the row of buildings would be in the bright light, while the other is in darkness.
This is a typical window sill of the many low yellow buildings in Italy. This photo was taken on the Ponte Vecchio in Florence.
This is a reality and a great difficulty in many rural areas during the rainy season. Although the Government is continually concerned about accessibility to villages by creating developed trails, the scale of the task remains enormous to satisfy the entire population. Furthermore, maintaining the tracks remains complex, given limited budgets and numerous priorities regarding basic infrastructure. The clearing of wooded areas along watercourses for the extension of cultivation areas constitutes a significant problem, as it accelerates water flow and very marked erosion phenomena. As a result, many crossing structures are washed away by water, making specific transports perilous. This is particularly the case for reaching health facilities with sick people or women about to give birth. The accessibility issue remains a significant concern for the populations of many villages.
Il s'agit d'une réalité et d'une grande difficulté dans de nombreuses zones rurales en saison pluvieuse. Bien que le Gouvernement se soucie continuellement de l'accessibilité aux villages par la réalisation de pistes aménagées, l'ampleur de la tâche reste énorme pour satisfaire l'ensemble de la population. Par ailleurs, l'entretien des pistes reste difficile étant donné des budgets limités et les nombreuses priorités en matière d'infrastructures de base. Le défrichage des cordons boisés le long des cours d'eau pour l'extension des zones de culture constitue un gros problème étant donné qu'il a pour conséquence l'accélération de l'écoulement des eaux et des phénomènes érosifs très marqués. De ce fait, de nombreux ouvrages de franchissement sont emportés par les eaux rendant ainsi certains transports périlleux. C'est notamment le cas pour rejoindre les formations sanitaires avec des malades ou des femmes sur le point d'accoucher. La question de l'accessibilité reste une préoccupation majeure pour les populations de nombreux villages.
I have had a lot of difficulty photographing this smoke screen in the past, but I really nailed it in several shots this trip. I liked the human element of this shot.
Little known fact about PotC: prior to the 2006 refurbishment, the pirates in the auction scene actually chanted, "we wants the Sarah." Unfortunately for them, I 'won' her and the redhead was added to the scene.
...that's obviously a joke. I don't want to get any hate mail from anyone who despises my "perverse" humor.
If you want tips for taking better photos at Disney, read this article! In it, I share advice applicable for everyone (from amateurs with iPhones to pros with DSLRS) heading to Disney!
View my Disney Photo Gallery for thousands of Disney photos that aren't on Flickr!
DisneyTouristBlog | Facebook | Twitter | Photo Gallery | Google+ | ISO 5571 - Podcast
The difficulty of this moment captured, is / was, removing the human clutter, it's great that the city of Albuquerque has a beautification program, paid for by the city tax funds. by clutter meaning buildings, power poles and wires, the yearly share getting intimate with the new camera, fixed objects, consistent, time of day, direction of light travel, cause and effect, to the presentation, viewing the history Histograms, camera settings, as well, your writing the book, what it takes, for good better Best. the theme can and will help anyone and any camera. Enjoy !
Whenever people suffered the difficulty in real life, they either faced the challenge with courage or hided themselves in their secret garden temporiarily, made their sophicated thoughts within, and then find way to breakthrough again.
Have you ever own your secret garden ? It could be a real place in real world , or just a mental place at your mind, which made yourself feel safe & help you calm down from the suddently sufferings in real life.
Try to create the secret garden through the overlayering composition, it can be a place mixed with variable emotions, happiness, sorrow, hate, sadness, peaceful etc, not necesarry a subjective garden in vision, maybe just a private corner under the tree, on the meadow, or even the space between the leaves & air.. tell me how you think about your secret garden.
British postcard by Picturegoer, London, no. W. 410. Photo: Columbia. Orson Welles in The Lady from Shanghai (Orson Welles, 1947).
American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).
George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalized at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten, Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose instead to travel to Europe. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in Jew Suss as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful Everybody's Shakespeare. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in Romeo and Juliet. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.
In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”
Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.
Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.
Orson Welles left Hollywood for Europe. In Italy, he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.
In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong, he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris, he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia, he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.
In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an ageing film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973), a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared in his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.
Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
canon elph 100hs
If you can read the diagram you can see I intended this to be multi format. Once I started I decided to KISS and make it only 6x6 and 6x9, but that may not happen as I'm running out of room. I'll do the film advance next before deciding to add the 6x9. Even that may be difficult as it involves changing the focal length and making the front/back cover removable.
The difficulty of photography on the GW main line is well displayed here as 43034 picks its way through the giant work area that is Didcot...July 22 2018.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Puolustusvoimat’s (Finnish Defense Force) “Ilves” is an indigenous battle tank design, tailored to fulfill the requirement for a lighter, more mobile modern tank than the Finnish Army’s standard MBT (the Leopard 2 of German origin) that can effectively operate in woodland and water-rich regions where the heavier MBTs might have difficulties traversing. Patria started the design for the new XA-2000 ‘Ilves’ (Lynx) tank when the Finnish Army started negotiations to procure Leopard 2A4 MBTs from Germany in the late 1990ies. 100 of these battle tanks were eventually ordered and delivered between 2002 and 2004, but it was clear that these large and heavy tanks – most suited for long-range battle in open field situations – would leave a tactical gap between them and the Finnish Army’s armed infantry fighting vehicles, which were lighter and more compact, so that they could operate more flexibly in the Finnish forests. However, these light vehicles did not offer the armament to fight enemy tanks at medium to long range, and the XA-2000 was to fill this gap.
From the outset, the XA-2000 was designed to be capable of being airlifted to improve its export chances, but it was not designed to be amphibious, due to the heavy turret which would raise the vehicle’s center of gravity and make any naval operations unsafe. The new third generation tank was expected to be much more mobile than typical main battle tanks, due to its light weight and high power/weight ratio. Power came from an electronically controlled 1,000 hp (746 kW) diesel engine, with hydro-mechanical fully automatic transmission. The tank is also capable of neutral steering and featured a hydro-pneumatic suspension.
The Ilves’ main armament was a fully stabilized Rheinmetall Rh-105-30 rifled gun, a modernized version of the famous Royal Ordnance L7 gun with reduced recoil for use in lighter vehicles. This proven weapon offered an effective firing range of 3 km and was compatible with all standard NATO 105 mm tank ammunition. The ammunition selections included APFSDS, HEAT and HE (High explosive) rounds. APFSDS and HEAT rounds were used against enemy armor while HE rounds were used against enemy infantry positions, light/non-armored vehicles, buildings, and field fortifications. The APFSDS projectiles were capable of penetrating 500 mm (20 in) of armored steel at 2,000 meters (1.2 mi), even though this was not considered sufficient to penetrate the front armor of modern main battle tanks such as the T-90. The sustained fire rate was supported by a bustle-mounted autoloader system, which reduced the crew to 3 and helped keeping the vehicle’s dimensions limited. The spent cases were ejected automatically via a hatch at the turret rear. The XA-1200 could hold a total of 38 various 105 mm shells, stored in the turret bustle for improved safety; the ammunition was retrieved from a tail autoloader with blowout panels.
Secondary armament included a 7.62 mm KVKK 62 coaxial machine gun of Finnish origin, and a remote-controlled weapon station mounted on the turret roof, operated by the commander, which was fitted with a 40 mm M203 automatic grenade launcher and a 12.7 mm RSKK 2005 (Browning M2) heavy machine gun.
The XA-2000 featured modern sensory and fire control systems, including laser rangefinder, advanced ballistic computer, meteorological sensors, gunner thermal imaging sight, millimeter-wave radar, and commander's panoramic sight. The fire control system supported automatic target tracking, hunter-killer capabilities, and commander takeover. Other equipment included air conditioning system, oxygen-production equipment for the crew, command and control equipment, battlefield management system, and navigation suite fitted with both inertial navigation system (INS) and satellite navigation system.
The XA-2000 featured two sets of armor packages providing different tactical mobility. Standard armor package featured classic steel armor protection with additional layers of advanced composite armor panels covering the tank turret, hull, and flanks, with additional lightweight explosive reactive armor blocks protecting the front hull. The enhanced package featured thicker explosive reactive armor (ERA) blocks, in addition to the composite armor panels underneath, covering the whole tank turret and hull. ERA mounted armor-skirt and slat armor could also be mounted on the side and rear side of the tank hull for additional protection. The enhanced armor set was designed for open area battle under heavy defensive conditions, but only intended as a tactical option.
As additional protective measure the XA-2000 was fitted with a 360° laser warning sensor system to detect incoming range-finding and anti-tank missiles, mounted at the turret’s corners, and the tank could automatically deploy smoke grenades in dischargers if the tank was being illuminated by enemy laser beams. Other protective features included chemical, biological, radiological, and nuclear (CBRN) protection, and a fire suppression system.
The first XA-2000 prototype was ready for tests in 2009, but it took five more years until the design was finalized and cleared for serial production. In late 2015 the first serial production tanks were delivered to the Finnish Army. A total of 100 XA-2000 had been ordered, but this was soon cut down to just seventy vehicles when the Finnish Army bought more Leopard 2A4 tanks in 2009 and launched an upgrade program for them. In January 2014, Finland agreed with the Netherlands to purchase 100 used Leopard 2A6NL tanks for approximately €200 million. This prevented more XA-2000 orders, even though there were still plans to procure 80 more of these light tanks until 2020. With the more modern tanks from the Netherlands available, most of the Finnish Leopard 2A4s were moved into reserve in 2015, with some converted into Marksman AA vehicles, bridge-laying, and mine-clearing tanks with Israeli-made Urdan mine rollers.
Even though the XA-2000 had been offered since 2016 for export its very specific design and limited firepower did not attract any buyers. Austria had shown early interest, as a potential replacement for the indigenous Kürassier anti-tank SPG, but eventually decided to procure more Leopard 2 tanks. Other countries which had been identified as potential users were Sweden, Canada, and Brazil, but despite successful demonstrations, no export deals have been closed yet.
Specifications:
Crew: Three (commander, gunner and driver)
Weight: 33 tons standard
36 tons with external armor package
Length: 9.2 meters (30.18 ft) overall
7.5 meters (24.61 ft) hull only
Width: 3.3 meters (10.83 ft)
Height: 2.5 meters (8.20 ft)
Ground clearance: Up to 17 in (430 mm)
Suspension: Hydropneumatic
Fuel capacity: 570 l (150 US gal, 120 imp gal)
Armor:
Standard steel armor protection with additional advanced composite armor
and/or explosive reactive armor package
Performance:
Maximum road speed: 70 km/h (43 mph)
Operational range: 480 km (300 mi)
Power/weight: 30.30 hp/ton
27.8 hp/ton with enhanced armor package installed
Engine & transmission:
Electronically controlled Patria 8V132 diesel engine with fully-automatic transmission, 1000 hp (746 kW)
Armament:
1× 105mm Rheinmetall Rh-105-30 rifled gun (with 38 rounds in an autoloader)
1× 7.62 mm KVKK 62 light machine gun, co-axial with the main gun, 4.500 rounds
Remote-controlled weapon station on the turret roof with co-axial…
1× 40 mm M203 automatic grenade launcher with 80 rounds
1× 12.7 mm RSKK 2005 (Browning M2) heavy machine gun with 600 rounds
The kit and its assembly:
The fictional Finnish XA-2000 tank model was a submission for the 2023 “1 Week Group Build” at whatifmodlellers.com – I had tackled a more complex project, but since I knew that the weekends were already blocked and the week in between quite busy, I decided to embark upon a more modest project – also because my usual “building routine” includes a background story and scenic pictures or a model, which take some time beyond the building phase.
I had this project on my agenda for some time, and also had already stashed away the kit, a Meng 1:72 ZTQ-15 light battle tank, a relatively new kit from 2021. The plan was simple: build the ZTQ-15 OOB and just apply a fictional paint scheme, to save time and reduce the risk of unexpected complexities through conversions.
And that’s what happened: the ZTQ-15 went together surprisingly well, with little trouble. Fit is very good, just the attachment points to the sprues are a bit weird, because they reach into gluing surfaces, calling for thorough cleaning. The benefit, though, is that there are no marks on the model’s visible surfaces.
Esp. the turret consists of a zillion small bits and pieces, but if you follow the instructions everything finds its place. Surface detail is also very good, just the weapons in the remote-controlled barbette look somewhat heavy-handed, detail fetishists might want to replace them with something more delicate.
The tracks are also nice; these are IP parts, and a little thick, but each track only consists of four segments (one upper and lower section, plus two very short rounded segments for the drive sprocket and the idler wheel) which are very easy to mount onto the wheels.
The only real change I made to the kit are different side skirts – instead of the OOB parts I implanted parts from a Leopard I tank (Revell kit), which had a similar length and offered thanks to their wavy lower edge, a slightly different look. To change the overall impression away from a PLA/Russian tank I omitted the auxiliary drum barrels on the rear, as well as the log for self-freeing and the protected replacement barrels at the turret’s rear.
Another mod is the open commander’s hatch with a figure; the hatch was a separate piece, so that no cutting was necessary, the figure was puzzled together from torso, arms and head from an 1:72 aftermarket set.
Painting and markings:
The ZTQ-15 was a good canvas to apply a modern Finnish Army camouflage paint scheme, which consists of three colors in a splinter pattern. Reliable information about the tones was not available, though, so I consulted a multitude of pictures of a wide range of vehicles under different light and weather conditions, and I eventually settled for a dirty black, a yellowish light green and a rather bluish dark green. The basic colors I used were Revell 06 (Tar Black, RAL 7021), a mix of 2 parts Humbrol 80 (Grass Green) and 1 part 159 (Khaki Drab), and Humbrol 195 (Chrome Oxide Green, RAL 6020), and in combination they look very good – even though Finnish real-world tanks look lees colorful due to sun-bleached paint.
The pattern was adapted from real Finnish Army T-72 tanks, even though slightly modified to take into account the much bigger turret and the wider hull that covers the tracks. The rubber side skirts and the running surface on the wheels were painted with Revell 09 (Anthracite); the open hatch and the turret interior in Humbrol 41 (Ivory). The commander figure’s suit was painted in an overall olive drab (Revell 46, NATO olive), with a dirty black helmet, light grey gloves and green-grey belts for the weapon holster – with a picture of a real-world Finnish tank commander as benchmark.
The model received a light overall washing with a mix of black ink and umbra and sienna watercolors, the markings/decals were puzzled together. The small Finnish roundels came from a 1:144 Mark I Decals aftermarket sheet (actually for aircraft), the tactical codes on the turret flanks were puzzled together from single, relatively narrow white digits, IIRC from a Roden IS-3 kit’s sheet. This kind of markings is not normally carried on Finnish Army vehicles, but without them, I found the model to look a I bit bleak? The “registration plates” on front and back – normally the only tactical marking on Finnish Army vehicles – came from an IDF Merkava, just trimmed down on their right side and a with a small “P” added to the left to simulate a typical Finnish registration.
As a colorful peacetime detail I added warning stripes on the rear mudguards, composed from a base decal stripe in fluorescent orange with sloping clear-and-yellow stripes on top of that. Looks very good!
The model was sealed overall with matt acrylic varnish and some finishing touches were made, including antennae made from heated black sprue material, glass blocks in the commander und driver cupolas (made with gloss black paint) and various lights (with clear paint over a silver base). Finally, some more mud and dust residue around the running gear was simulated with umbra watercolor.
Well, this build was intended to be completed in a week, but the model itself was already finished in one and a half day! The additional scenic pics with editing took almost the same time, though. However, the simple travesty of a modern Chinese tank into a Finnish Army vehicle went well, the package looks IMHO very plausible. The three-tone splinter cammo even makes it look quite attractive – the idea and building plan worked out well. :D
The eastern face of the mountain rises over 1,500 vertical feet (457 m) and the easiest route on this section is rated class 4 by mountaineers. The rock is also primarily sedimentary and provides poor anchor points, which in turn is a contributing factor to the difficulty rating. Henry Stimson and two other explorers, including a Blackfeet Indian, climbed the difficult eastern face on September 8, 1892, and this is the first known ascent of the peak by white explorers. Upon the summit, Stimson's party observed ceremonial remains including bison skulls that had been left behind by Native Americans. The eastern face of the peak wasn't successfully climbed again until 1951. Though the summit can be gained by approaching from the west, the easiest access is from the east, and the Blackfeet tribe may issue access permits to cross reservation lands.
"Don't wait that it will be easier or simpler.. It won't happen. There will always be difficulties. Learn to be happy right now. Otherwise it might be too late."
This bird in the photo, adores the rhinoceros more than other animals, because there is always an incredible number of larvae on its huge naked body. She is not only a personal surgeon and a loyal friend, but also a personal guard of the beast: if she hears some suspicious noise, she immediately screams and starts pecking the rhinoceros in her ears, warning of the danger.
Диалог.
"Не жди, что станет легче, проще, лучше... Не станет. Трудности будут всегда. Учись быть счастливым прямо сейчас. Иначе не успеешь."
Эти птички называются волоклюй. Это носорожья птичка, обожает носорага более, чем других зверей, потому что на его огромном голом теле всегда имеется невероятное количество личинок. Она не только личный хирург и верный друг, но и личный охранник зверя: если услышит какой-нибудь подозрительный шум, тут же поднимает крик и начинает клевать носорога в уши, предупреждая об опасности.
Photo Awards
1. FIAP Gold Medal, VISION Photo ART - 2016, Czech Republic 2. Salon HM, TORONTO Salon - 2016, Canada
3. FIAP Gold Medal, GOLDEN WOMEN -2016, Russia
4. UPI Gold, Balkan Dream - 2016 , Photo Club Arizona, Serbia
5. FIAP HM, NEWI BI Continental Photo Circuit -2016, Greece
6. PSA Gold Medal, NEWI BI Continental Photo Circuit -2016, United Arab Emirates
7. Honorable Mention , Sienna Photo Awards - 2016, Italy
8. The Winner, Black & Wite Photography, 35 AWARDS - 2016
9. CFFU Gold Medal, Indian Summer -2017, Czech Republic
10. GPU Gold Medal, 2-nd International Circuit Camera Obscura - 2017, Macedonia
11. FIAP Bronze Medal, Objective , LENS NGO - 2017, Armenia
12. PSA Gold Medal, New York - Manhattan - 2017, ART Bureau, USA
13. FSS Gold Medal, 3-rd Circular Exhibition of Photography Tower Circuit-2017, Kula, Serbia
14. Salon Silver Medal, 3-rd Circular Exhibition of Photography Tower Circuit-2017, Ruma
15. Salon HM, 3-rd Circular Exhibition of Photography Tower Circuit-2017, Novi Sad, Serbia
16. PSA Ribbon, Uzbekistan Photo Salon -2017, Neformat Photo Club, Russia
17. FIAP Bronze Medal, The 9-th International Artistic Photo Contest in Vietnam -2017
18. GPU HM, 6-th Greek Photographic Circuit - 2018, Santorin, Greece
19. Bronze medal FIAP, 13th FIAP World Cup - 2018, individual photo
20. Bronze FIAP Medal, category Nature, Award Ceremony The Night of the CHAMPIONS, TRIERENBERG SUPER CIRCUIT-2019, Austria, Linz
21. FIAP Gold Medal, 12th International Photographic Salon Varna - 2019, Bulgaria
If you experience any difficulty please contact an attendant!
The old Derby Infirmary is in the process of being demolished and this is all that's left of one of the car parks.
09.
but nobody wants to know
'cos nobody even cares
everyone's on the make
yeah and everyone's out for themselves
me I'm on the longest road
where everything's overload
but I've got my heart and soul
so don't throw me overboard
'cos it's alright
just follow the light
and don't be afraid of the dark
~Travis
made this photo under the concept of "leadership" for a magazine. tried to portray the facts that a leader should be someone who has the ability to stand strong in every obstacle and can pull through every difficulties s/he has to face.
constructive feedback is welcomed.
Ger (Stranger 75)
Despite his walking difficulties, Ger regularly walks around eight kilometers, but he does need his walking stick. And halfway through the walk he has his addresses where he can rest and get something to drink. This time I ran into him in the cowshed of the farm campsite where I am on holiday. Take a look at the cows, there is always something to do. He had a friend who unfortunately passed away and the friend also had cows. Ger liked to help his friend every now and then, for example when the cows were taken (or fetched) to the dunes to walk there in the summer months. In the stable, the light from the high skylights fell beautifully on Ger's hat and shoulders. Unfortunately, that put his face in the shade. That's why I asked Ger to pose in the stable door.
This is the 75th photo from my 3rd round of the 100strangers project.
Find out more about the project and see pictures taken by other photographers at the group 100 Strangers | Flickr: www.flickr.com/groups/100strangers/
Experiment: Five Days with No Shoes
Pre-Intro: Taking part in this experiment to go shoeless for five days should be beneficial in opening up some more understanding towards these emotions, and offer some more insight into ways to combat, strengthen and resolve various issues that need attention. ‘Travel’, (or simply ‘substantial change in environment’) does have psychologically therapeutic effects, and this being an important area of my work. I aim at doing more research into this by taking part in this experiment. This was an attempt to closely observe emotions in situations that I perceived myself as being ‘unusual’ from the crowd. It was an intentional encounter with the emotions similar to ‘fear’ and ‘shame’, and the ensuing study of how to restructure them into something better. It is to study and observe the mind while it was at work, from a self-imposed, hence more neutral, logical perspective. In this essay, I am going to look at how I did the experiment, what happened during it, and what the results of it were.
Goal: The difficulties involved in the concept of ‘setting yourself apart from the crowd’ tend to be amongst the biggest obstacles that many people face in their lives. These emotions and can be immensely complicated when people are trying to find their way in the world, resulting in situations that are hard for people to understand and manage. All people experience emotions such as ‘fear’ and ‘shame’ to differing extents and we will look at the two emotions in a bit more depth. For different individuals, the intensity of the emotions felt range on a broad spectrum from serving only as a minor barrier to personal-growth for some, but for others it can have more adverse effects that lead to various psychological and health issues. Emotions such as fear and shame can be combatted through confidence and courage building, but also depend on other factors. As emotions can be transferrable between individuals and between groups of people (i.e. cultures, societies etc.), the research needs to be environment-based too (i.e. this time being Thailand). Many individuals tend to feel strongly disempowered and imprisoned by these emotions and I aim to get a deeper and clearer understanding of these emotions and mental functions in relation to larger environmental/cultural influences. This is to continue to research and improve on our travel-based educational platform as a useful tool for our students and society.
The Beginning; The Story
I Am Getting My Socks Dirty!
For the past few days here in Bangkok, Thailand, I have been continuously going about daily life with no shoes on – mostly in white socks, and sometimes barefoot. During the first couple of days, I kept it slightly more low-key; like a timid cat checking out an unfamiliar environment, with just short ‘excursions’ to get food, or drinks, or to buy something at 7Eleven - all close to where I was staying. The area is known as Khaosan Road, a backpacker’s haven, where there are a couple of streets loaded with everything the weary or tempted tourist might want. There are bars, cafés, parks, temples, and plenty of people and street-side action to get distracted with at almost any time of the day and night. This infamous travelers’ hub tends to attract and retain a number of ‘unique’ travelers that easily intermingle amongst the more common-looking tourists, and it is commonplace to see rather endearing styles of fashion on display; tattoos, piercings, ‘rare’ hairstyles, and the occasional bare-footer. Although the ones sporting bare feet often tend to be hippies, drunk people, or locals that, by the looks of them, seem to be poorer or less of the sane type. I am in none of those categories, I hope. I’m just one of the normal people on the street, but I just ‘happened’ to be in my white socks. The area itself is a very familiar place to me, but the lack of shoes created a new headspace inside of me – such a change caused me to have to relearn the environment. It was an extremely uneasy thing to do and an extremely unusual feeling.
Why Do Such A Thing?
I’m doing this experiment for a number of reasons. A colleague and I are putting together a roughly twenty-minute video of the experiment with a short and simple discussion related to our work in the fields of travel-related education, psychology and therapy. This talk is mainly focused towards Chinese people (it is in Chinese) on the topic of pushing your psychological boundaries and acceptance of being different from the crowd. Understanding psychology cannot be done solely by observation or on paper, so getting to the core of many of the psychological and habitual issues needs to experienced first-hand. Many of our students (both teenage and particularly adults, including students’ parents) tend to often struggle with the acceptance of being different from the crowd and suffer from excuses that avoid the root of their difficulties. To us, as teachers, this psychological state needs to be pushed and prodded at for the sake of expanding our understanding of their experience. It is not that we are fearless or shameless as such – far from it - but we lead a traveling lifestyle in diverse environments where social and cultural constraints have less of an impact on our day-to-day choices and social encounters. So, I jumped right into this experiment and the ideas, observations and thoughts from the process will be shared in this essay. Who would guess that doing such things could open up a new world to me?
1.Why Does Our Sense of Self Have to Be So Strong?
Fear, nervousness and excitement tend to be confused by the brain as they all stimulate the same biological reactions, such as speeding up the heart rate. It is possible for the brain to confuse what it is actually experiencing. When an emotion of, perhaps, nervousness (activated by the brain telling you that you are different from the others) fear kicks in and the brain looks for things it perceives as ‘threats’. In my case, while being in socks in public, these ‘threats’ tended more likely to be people who might easily notice me; like people walking towards me or people sitting idly by that could possibly make some noticeable sort of remark. It would be these types of perceived ‘threats’ that I would find myself naturally trying to avoid eye contact with or maybe even subconsciously try to change my walking path to avoid ‘confrontation’. People that tended to be busy with their own affairs gave me no concerns at all. There also tended to be differences in perception between people you tend to associate more closely with; whether you know them or not, or would you ever see them again (i.e., the guesthouse staff that see you coming in and out each day without shoes on) - this tended to give me a stronger reaction. Similarly, stronger reactions were evoked from people I either genetically or culturally identified more with – i.e., different genders, ethnicities and age groups. These psychological reactions tended to be based on solely what people could possibly think of me and the strength of the reaction depended on these factors. It is not that I really minded, because walking in socks is far from the height of difficulty in this world, but I was observing my brain tending to be more active when it was trying to figure out my best ‘survival’ strategies in unfamiliar situations. Questions such as who would I most likely get approval from, who would mostly would stare or give me a negative reaction, who would I bring embarrassment to… these questions fill the brain as it is terrified of being ostracized by the group. Walking the streets in white socks could possibly be enough to make you a laughing stock. That is a terrifying feeling for a person. So, this is something that needed to be understood, looked at and conquered. I mean, it is my brain’s job to keep me safe and alive (and being part of the group is vital for survival), but it is my job to keep my brain in check!
During the next couple of days, I started venturing a bit further away from Khaosan Road as I began to feel less and less self-conscious. I then found myself at a Thammasat University having lunch by the river side. My socks tended to still be bright white on the tops, but had black footprints on the bottoms. Sometimes I started thinking that the dirtier they were the more natural it looked. I don’t know what to make of that – maybe it was more acceptance of the state of them. I enjoyed my time there. I walked back with an ice-coffee I bought from a street stall and sat in the park for a couple of hours pondering over the situation. My colleague and I had filmed a part of it to put into the video. The real importance comes down to not just the action of walking shoeless, but the following mental reflection over the what happened during the experience to make sure the brain understands what it is actually seeing and doing as it experiences and reacts to all this new stuff. This is all the brain’s doings, none of it is orchestrated by me. This goes for any situation in life really, but this process is often overlooked, as we move on to the next task ahead. Instead, I walked along the hot sticky street to a park further along the riverside where I laid down in a shady patch of grass under a massive twisted tropical tree and let everything sink in. The brain is automatically doing a lot of stuff I am not even aware of nor wanting to permit it to do, but it is more up to me to to understand that and learn to control what is going on instead. Skills like that should get me higher places than a good pair of sturdy hiking boots could ever. It seems going barefoot just may hold some magic.
2.Happily Hiding Behind Excuses
Oh, we humans know how to hide. While walking around the streets, into stores, happily soaking up the Bangkok atmosphere, I found myself hiding behind excuses for being shoeless. Despite my body (and bright white socks) being physically exposed for the world to see, but in my mind, I was aiming at quelling the inner dragon of self-consciousness. I thought I had more of a reason, for anyone who may look at me, to be shoeless in the late afternoon than the morning – maybe I had walked a long way and I had blisters, maybe my shoes broke, maybe I was hot? In the morning, by contrast, it just more looked like the guy couldn’t be bothered putting on his shoes. So, I went out in the morning too, not just using the heat as an excuse, or hiding behind the darkness of night. Having a small backpack with me was a good way to hide too. Could this guy be suffering from any of the above situations, and obviously his shoes are in his bag, the random passer-by would think. So, when I could, I would try go out empty-handed where possible. The only pity is I quite like to carry a small backpack with my camera for a bit of photography, and a bottle of water in it. I found taking off my glasses was another good way to not be able to see if people were staring or not, making me feel like I was more in my own world – listening to music could have the same effect. So, I kept the glasses on, and music off. I’d go with my coworker who was in bare feet, that felt more easier as there was the distraction of chatter and dialog about the experiment to hide behind. Going out alone would up the ante, put on a bit more stress, so I made sure to do this too. These are the tactics the brain employs to reason with myself as why to be shoeless. I mean what if someone asks where my shoes are, I could stumble and think of lies, but that won’t get anyone to paradise. All this led me to have to accept and address the root of the issue: “I am just the guy who is out in his socks”. No hiding. No denying. Dress the way you feel good, stand up straight, put yourself into a confident and open physical position, tell yourself ‘you are just the guy who wears his socks’. Be ready to give sincere eye-contact and engage in conversation with anyone you encounter and just walk on forward. What you tell yourself and how you behave decides the outcome and supporting the fundamental truth of the matter gets you where you need to be faster.
By the third day, after having had more and more physical practice of being out and about with no shoes on, plus having had plenty of mental exploration and conversation regarding the many aspects of the experience, things started to feel more natural. My mind was changing towards self-acceptance and encouragement towards such a lifestyle of endeavor, discovery and self-growth. By this time, I found myself hopping into a taxi one evening to go to MBK center shopping mall. I was originally planning to leave for India the day after, so I wanted to buy a couple of bits and pieces. I spent about two hours in the mall; the bottoms of my socks were rather dirty, but the whole time I was possibly even more relaxed than I would have been if I were in shoes. I am not really a fan of malls, but I found that I was more in a peaceful world of my own more so than a noisy mall of shoppers. I came back in a tuk-tuk and wandered back to my guesthouse through the busy bar district of Khaosan. It was if it were any normal day. To my surprise, I was relatively unaware of my lack of shoes.
3.Tackling the Bull in the Cage
It is the only way to address the issue and gain something true from your endeavors. If you carry yourself confidently, who can belittle you? If you accept the truth, who can deny it? The thing is, the world is like a mirror, if you don’t care, the world doesn’t care either. The world reflects back what is in your mind and in your heart. When I was subconsciously unaware of the fact I was in a busy shopping mall in my socks, to me, it seemed that the whole world was unaware of it. When I was stressed or uncomfortable, then it felt like the world was glaring at me. The subconscious mind brought out all sorts of perceived threats. The mind needs to be trained in order to live out the life you want to live. I have to admit, sometimes it felt weird having my coworker take photos of me while in socks in some public space somewhere with people all around, but you just have to tell yourself: “I accept everything that comes with this.” Maybe no one even saw, or maybe someone did see and probably forgot about it within three seconds. If they do remember it would be because they thought it was cool. Others are welcome to do whatever they want with their observations. But, remember, the noise is inside you.
By the fourth day, I had decided that I was too much invested into this project and to run off to India prematurely wouldn’t be the best choice. I wanted to continue a bit, and I wanted to put the video together (although it was my coworker who mainly took control of that part), and I wanted to write this down. Environment is utmost, and while I am still in this environment, I am more likely to order my ideas in a clearer way. I imagine the smell of curries and sounds of horns in the streets of Bangalore will take my mind away to other places. When you’re focused and enjoying something productive you should stride to stay in that state. Change (or disruption) to an environment is unsettling for a person, and I know this well as that is where my general main work’s focus lies – travel-related education, psychology and therapy. I happened to go to MBK once again, of course in my socks, and wandered the streets nearby and came back by public bus. Over the last day or two before leaving for India, I didn’t plan on any such sock-walks, didn’t aim for any such mental or physical stimulation, but instead, just a quiet calm mood to weather away the hot afternoons and get this writing done. But I realized by habit, I still went out in my socks for a morning coffee and 7eleven for bottles of water, and even out for dinner. It had become a new sort of comfort zone. No one likes the feeling of retraction, so maybe just now putting on shoes, feels a little like that. I actually really like who I am when I am out in my socks. I love the mental stimulation and feeling of freedom. Having seen the videos of myself out and about, I tend to think, under the circumstances, I looked rather confident and natural. I liked the way I looked and even more so, how I felt. The self-affirmation of something is almost more crucial than the actual activity itself.
4.Setting Things Straight
The truth is, walking around a city in a pair of white socks is not the epitome of difficulty in this world; to some it would be easy, and to others, mortifying. What is considered ‘difficult’ depends on you, and your previous experiences and interests. The thing is, when confronting your fear, or looking to expand you comfort zone, you need to not only delve directly into it, but you may also need to negotiate with yourself that much more difficult things exist. If you compare your difficulties to other things that are more difficult, then you reduce the size of your perceived burden. You may even need to actively seek out such things to confirm to yourself that they do indeed exist. Things are only small when compared with something bigger, just as the Earth is big if you travel by horse, but very tiny when observed from the moon. So, sometimes to aim at something you perceive as ‘big’ or ‘difficult’, then you may need to not only grind slowly and steadily in its direction, but also hack backwards at it to reduce the perceived size of it. There, that is something a bit more complicated to contemplate. Ha!
You may notice a theme here in that nowhere mentioned was any negative situations being mentioned. That is because during the five-day experiment, there were never any such occurrences. There are many nationalities around Khaosan, and never received a difficulty from anyone. I noticed people occasionally looked. I would also emphasize the word ‘looked’, and not ‘stared’. But on the contrary, I need to mention that no matter what you’re wearing or doing people do look. Yes, I noticed people occasionally still looked while I was wearing flip-flops. People have eyes after all, and they need to set their vision on something, so that’s forgivable. Maybe I just have nice (although hairy) legs? Ha-ha. But, maybe it is something more than that. Maybe it is something about the Thai people and the atmosphere they have created to be inclusive, tolerant and open-minded. To expand on this topic, I will need to keep up my white sock-walking activities across other parts of the world in order to work towards the core of such assumptions.
What Can Thai Attitude Offer The World?
However, the Thai people’s attitude towards life is rather healthy. It seems to be that if something does not harm anyone, then it is not really worth worrying about. That is a fair take on life. I noticed on the rare occasion when someone did not know what to make of me being in my socks, then substitute was a smile or laughter. That takes you back to the ‘world being a mirror’ philosophy; if you are self-conscious or flustered under a circumstance a laugh can be perceived as a snigger or an intrusion. When your soul and mind are calm, a laugh could be perceived as a friendly sign of acceptance or interest. It seems the Thais are slower in their reactions and judgements, allowing themselves sufficient time for a reasonable and proper response to ensue. I like the fact they are natural and thoughtful in their responses, something obviously passed down through their Buddhist faith. I would say, as a whole, I got a more neutral to positive reception anywhere I went in my socks. The interesting thing is, that is the same Thai reception I have received anywhere under almost any circumstance - with shoes on or off. But of course, there would be places you wouldn’t want to go in your socks, just as you wouldn’t swim in the sea or go to bed while wearing your shoes. Well, you can do that and why not if that is what you want - who are we to judge? But, it seems here in Thailand, if you are reasonable in your attitude and polite in your behavior, the Thais will treat you with the same respect. Hats off (or shoes off) to the Thais for that. We can all learn a lot from them.
Your Growth Is Your Gift To The World
It is also your own responsibility to work at expanding your comfort zone. There is not a single soul that does not want to become a bigger and better version of themselves. Explore and grow; that what souls do. It is your job to dig out what it needs and how to go about it. Sock-walking is just my own personal way, among others. But I also find it necessary that people take on such things. It is quite funny to know that all along during the beginning of the experiment, my brain was constantly doing all it could to help me avoid being ostracized by other humans. It was working to keep me surviving in optimal fashion. However, on the flipside, being the same as everyone does not necessarily get you anywhere at all. The ‘herd mentality’ is not lauded; it is not held in high regard. In fact, it is the opposite. I would believe that my getting out in my white socks is a rather positive thing in many people’s perceptions. I could see it and feel that at times. Maybe someone else just happened to think a little thought such as, ‘yeah, why not.’ Being a bit different reaffirms in others’ minds that possibilities exist. It is like the idea of recycling or reducing plastic use; you only really get the idea of when you are reminded of it, or see others taking part in it. My experiment probably does far better for the world that one would imagine.
My Unexpected Gains
I actually feel I have been through a type of therapy myself. I feel energetic. I had to make a quick phone call to an elderly neighbor in China, and she mentioned the change in my tone of voice. I was quite astonished when she said I sounded younger. My eyes feel bright. The flame in my soul feels steady. Making the video and seeing myself in it looking confident and actually liking the look of it, made me feel rather positive about myself. I feel mentally light. Maybe it’s because of Thailand itself and the abundance of sunshine. Maybe it is just because of finishing a two-week work project to Nepal with a group of my students. Maybe I am feeling a natural and positive shift towards a new segment of growth in my field. Or maybe I am feeling physically light, because having walked without shoes on, you begin to tread more lightly and carefully, and are more focused and intentional in your footsteps. Buddhist monks tend to go barefoot, as it seems to have a meditative effect, or maybe bare-footedness offers a boost of energy from the beneath the Earth; something like the opposite of soaking up vitamin D from the sun above. Maybe it was the psychological pushing and prodding of my internal world that met the instinctual need for physical stimulation of the body. Maybe it was sensual stimulation of the mind and feet; something we get too little of in the modern world. I think it was all of the above together that reenergized my body, and reinvigorated the mind and soul and I feel that I have given myself some psychological and perceptual reorganizing, something like a software upgrade. It feels something like coming out after a good Thai Massage.
An Experiment Resulting In The Restructuring the Subconscious View the World
However way, when you throw yourself into the deep end for an experiment in self-growth, it is not always easy and does take some courage and effort. And, so it should. Everything worthwhile always involves an element of difficulty. Why should one be rewarded without having put in any work anyway? Personally, I am very satisfied with this experiment and it has been an interesting, fun and valuable experience and I am sure I will enjoy the benefits of it for a long time to come. I will probably try to keep up with the occasional sock-walk when and where possible, and will aim at attempting the experiment again in other parts of the world. So, if next time you see a guy out in his white socks, it just might be me. Cheers!
Note:
Yes, I got several pairs of socks dirty. They washed up well when hand washed in the shower. I got zero holes in them. I received zero cuts or injuries from being out shoeless during these five days.
Coronavirus disease 2019 (COVID-19) is an infectious disease caused by severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2).[8] The disease was first identified in December 2019 in Wuhan, the capital of China's Hubei province, and has since spread globally, resulting in the ongoing 2019–20 coronavirus pandemic.[9][10] As of 26 April 2020, more than 2.89 million cases have been reported across 185 countries and territories, resulting in more than 203,000 deaths. More than 822,000 people have recovered.[7]
Common symptoms include fever, cough, fatigue, shortness of breath and loss of smell.[5][11][12] While the majority of cases result in mild symptoms, some progress to viral pneumonia, multi-organ failure, or cytokine storm.[13][9][14] More concerning symptoms include difficulty breathing, persistent chest pain, confusion, difficulty waking, and bluish skin.[5] The time from exposure to onset of symptoms is typically around five days but may range from two to fourteen days.[5][15]
The virus is primarily spread between people during close contact,[a] often via small droplets produced by coughing,[b] sneezing, or talking.[6][16][18] The droplets usually fall to the ground or onto surfaces rather than remaining in the air over long distances.[6][19][20] People may also become infected by touching a contaminated surface and then touching their face.[6][16] In experimental settings, the virus may survive on surfaces for up to 72 hours.[21][22][23] It is most contagious during the first three days after the onset of symptoms, although spread may be possible before symptoms appear and in later stages of the disease.[24] The standard method of diagnosis is by real-time reverse transcription polymerase chain reaction (rRT-PCR) from a nasopharyngeal swab.[25] Chest CT imaging may also be helpful for diagnosis in individuals where there is a high suspicion of infection based on symptoms and risk factors; however, guidelines do not recommend using it for routine screening.[26][27]
Recommended measures to prevent infection include frequent hand washing, maintaining physical distance from others (especially from those with symptoms), covering coughs, and keeping unwashed hands away from the face.[28][29] In addition, the use of a face covering is recommended for those who suspect they have the virus and their caregivers.[30][31] Recommendations for face covering use by the general public vary, with some authorities recommending against their use, some recommending their use, and others requiring their use.[32][31][33] Currently, there is not enough evidence for or against the use of masks (medical or other) in healthy individuals in the wider community.[6] Also masks purchased by the public may impact availability for health care providers.
Currently, there is no vaccine or specific antiviral treatment for COVID-19.[6] Management involves the treatment of symptoms, supportive care, isolation, and experimental measures.[34] The World Health Organization (WHO) declared the 2019–20 coronavirus outbreak a Public Health Emergency of International Concern (PHEIC)[35][36] on 30 January 2020 and a pandemic on 11 March 2020.[10] Local transmission of the disease has occurred in most countries across all six WHO regions.[37]
File:En.Wikipedia-VideoWiki-Coronavirus disease 2019.webm
Video summary (script)
Contents
1Signs and symptoms
2Cause
2.1Transmission
2.2Virology
3Pathophysiology
3.1Immunopathology
4Diagnosis
4.1Pathology
5Prevention
6Management
6.1Medications
6.2Protective equipment
6.3Mechanical ventilation
6.4Acute respiratory distress syndrome
6.5Experimental treatment
6.6Information technology
6.7Psychological support
7Prognosis
7.1Reinfection
8History
9Epidemiology
9.1Infection fatality rate
9.2Sex differences
10Society and culture
10.1Name
10.2Misinformation
10.3Protests
11Other animals
12Research
12.1Vaccine
12.2Medications
12.3Anti-cytokine storm
12.4Passive antibodies
13See also
14Notes
15References
16External links
16.1Health agencies
16.2Directories
16.3Medical journals
Signs and symptoms
Symptom[4]Range
Fever83–99%
Cough59–82%
Loss of Appetite40–84%
Fatigue44–70%
Shortness of breath31–40%
Coughing up sputum28–33%
Loss of smell15[38] to 30%[12][39]
Muscle aches and pains11–35%
Fever is the most common symptom, although some older people and those with other health problems experience fever later in the disease.[4][40] In one study, 44% of people had fever when they presented to the hospital, while 89% went on to develop fever at some point during their hospitalization.[4][41]
Other common symptoms include cough, loss of appetite, fatigue, shortness of breath, sputum production, and muscle and joint pains.[4][5][42][43] Symptoms such as nausea, vomiting and diarrhoea have been observed in varying percentages.[44][45][46] Less common symptoms include sneezing, runny nose, or sore throat.[47]
More serious symptoms include difficulty breathing, persistent chest pain or pressure, confusion, difficulty waking, and bluish face or lips. Immediate medical attention is advised if these symptoms are present.[5][48]
In some, the disease may progress to pneumonia, multi-organ failure, and death.[9][14] In those who develop severe symptoms, time from symptom onset to needing mechanical ventilation is typically eight days.[4] Some cases in China initially presented with only chest tightness and palpitations.[49]
Loss of smell was identified as a common symptom of COVID‑19 in March 2020,[12][39] although perhaps not as common as initially reported.[38] A decreased sense of smell and/or disturbances in taste have also been reported.[50] Estimates for loss of smell range from 15%[38] to 30%.[12][39]
As is common with infections, there is a delay between the moment a person is first infected and the time he or she develops symptoms. This is called the incubation period. The incubation period for COVID‑19 is typically five to six days but may range from two to 14 days,[51][52] although 97.5% of people who develop symptoms will do so within 11.5 days of infection.[53]
A minority of cases do not develop noticeable symptoms at any point in time.[54][55] These asymptomatic carriers tend not to get tested, and their role in transmission is not yet fully known.[56][57] However, preliminary evidence suggests they may contribute to the spread of the disease.[58][59] In March 2020, the Korea Centers for Disease Control and Prevention (KCDC) reported that 20% of confirmed cases remained asymptomatic during their hospital stay.[59][60]
A number of neurological symptoms has been reported including seizures, stroke, encephalitis and Guillain-Barre syndrome.[61] Cardiovascular related complications may include heart failure, irregular electrical activity, blood clots, and heart inflammation.[62]
Cause
See also: Severe acute respiratory syndrome coronavirus 2
Transmission
Cough/sneeze droplets visualised in dark background using Tyndall scattering
Respiratory droplets produced when a man is sneezing visualised using Tyndall scattering
File:COVID19 in numbers- R0, the case fatality rate and why we need to flatten the curve.webm
A video discussing the basic reproduction number and case fatality rate in the context of the pandemic
Some details about how the disease is spread are still being determined.[16][18] The WHO and the U.S. Centers for Disease Control and Prevention (CDC) say it is primarily spread during close contact and by small droplets produced when people cough, sneeze or talk;[6][16] with close contact being within approximately 1–2 m (3–7 ft).[6][63] Both sputum and saliva can carry large viral loads.[64] Loud talking releases more droplets than normal talking.[65] A study in Singapore found that an uncovered cough can lead to droplets travelling up to 4.5 metres (15 feet).[66] An article published in March 2020 argued that advice on droplet distance might be based on 1930s research which ignored the effects of warm moist exhaled air surrounding the droplets and that an uncovered cough or sneeze can travel up to 8.2 metres (27 feet).[17]
Respiratory droplets may also be produced while breathing out, including when talking. Though the virus is not generally airborne,[6][67] the National Academy of Sciences has suggested that bioaerosol transmission may be possible.[68] In one study cited, air collectors positioned in the hallway outside of people's rooms yielded samples positive for viral RNA but finding infectious virus has proven elusive.[68] The droplets can land in the mouths or noses of people who are nearby or possibly be inhaled into the lungs.[16] Some medical procedures such as intubation and cardiopulmonary resuscitation (CPR) may cause respiratory secretions to be aerosolised and thus result in an airborne spread.[67] Initial studies suggested a doubling time of the number of infected persons of 6–7 days and a basic reproduction number (R0 ) of 2.2–2.7, but a study published on April 7, 2020, calculated a much higher median R0 value of 5.7 in Wuhan.[69]
It may also spread when one touches a contaminated surface, known as fomite transmission, and then touches one's eyes, nose or mouth.[6] While there are concerns it may spread via faeces, this risk is believed to be low.[6][16]
The virus is most contagious when people are symptomatic; though spread is may be possible before symptoms emerge and from those who never develop symptoms.[6][70] A portion of individuals with coronavirus lack symptoms.[71] The European Centre for Disease Prevention and Control (ECDC) says while it is not entirely clear how easily the disease spreads, one person generally infects two or three others.[18]
The virus survives for hours to days on surfaces.[6][18] Specifically, the virus was found to be detectable for one day on cardboard, for up to three days on plastic (polypropylene) and stainless steel (AISI 304), and for up to four hours on 99% copper.[21][23] This, however, varies depending on the humidity and temperature.[72][73] Surfaces may be decontaminated with many solutions (with one minute of exposure to the product achieving a 4 or more log reduction (99.99% reduction)), including 78–95% ethanol (alcohol used in spirits), 70–100% 2-propanol (isopropyl alcohol), the combination of 45% 2-propanol with 30% 1-propanol, 0.21% sodium hypochlorite (bleach), 0.5% hydrogen peroxide, or 0.23–7.5% povidone-iodine. Soap and detergent are also effective if correctly used; soap products degrade the virus' fatty protective layer, deactivating it, as well as freeing them from the skin and other surfaces.[74] Other solutions, such as benzalkonium chloride and chlorhexidine gluconate (a surgical disinfectant), are less effective.[75]
In a Hong Kong study, saliva samples were taken a median of two days after the start of hospitalization. In five of six patients, the first sample showed the highest viral load, and the sixth patient showed the highest viral load on the second day tested.[64]
Virology
Main article: Severe acute respiratory syndrome coronavirus 2
Illustration of SARSr-CoV virion
Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) is a novel severe acute respiratory syndrome coronavirus, first isolated from three people with pneumonia connected to the cluster of acute respiratory illness cases in Wuhan.[76] All features of the novel SARS-CoV-2 virus occur in related coronaviruses in nature.[77] Outside the human body, the virus is killed by household soap, which bursts its protective bubble.[26]
SARS-CoV-2 is closely related to the original SARS-CoV.[78] It is thought to have a zoonotic origin. Genetic analysis has revealed that the coronavirus genetically clusters with the genus Betacoronavirus, in subgenus Sarbecovirus (lineage B) together with two bat-derived strains. It is 96% identical at the whole genome level to other bat coronavirus samples (BatCov RaTG13).[47] In February 2020, Chinese researchers found that there is only one amino acid difference in the binding domain of the S protein between the coronaviruses from pangolins and those from humans; however, whole-genome comparison to date found that at most 92% of genetic material was shared between pangolin coronavirus and SARS-CoV-2, which is insufficient to prove pangolins to be the intermediate host.[79]
Pathophysiology
The lungs are the organs most affected by COVID‑19 because the virus accesses host cells via the enzyme angiotensin-converting enzyme 2 (ACE2), which is most abundant in type II alveolar cells of the lungs. The virus uses a special surface glycoprotein called a "spike" (peplomer) to connect to ACE2 and enter the host cell.[80] The density of ACE2 in each tissue correlates with the severity of the disease in that tissue and some have suggested that decreasing ACE2 activity might be protective,[81][82] though another view is that increasing ACE2 using angiotensin II receptor blocker medications could be protective and these hypotheses need to be tested.[83] As the alveolar disease progresses, respiratory failure might develop and death may follow.[82]
The virus also affects gastrointestinal organs as ACE2 is abundantly expressed in the glandular cells of gastric, duodenal and rectal epithelium[84] as well as endothelial cells and enterocytes of the small intestine.[85]
ACE2 is present in the brain, and there is growing evidence of neurological manifestations in people with COVID‑19. It is not certain if the virus can directly infect the brain by crossing the barriers that separate the circulation of the brain and the general circulation. Other coronaviruses are able to infect the brain via a synaptic route to the respiratory centre in the medulla, through mechanoreceptors like pulmonary stretch receptors and chemoreceptors (primarily central chemoreceptors) within the lungs.[medical citation needed] It is possible that dysfunction within the respiratory centre further worsens the ARDS seen in COVID‑19 patients. Common neurological presentations include a loss of smell, headaches, nausea, and vomiting. Encephalopathy has been noted to occur in some patients (and confirmed with imaging), with some reports of detection of the virus after cerebrospinal fluid assays although the presence of oligoclonal bands seems to be a common denominator in these patients.[86]
The virus can cause acute myocardial injury and chronic damage to the cardiovascular system.[87] An acute cardiac injury was found in 12% of infected people admitted to the hospital in Wuhan, China,[88] and is more frequent in severe disease.[89] Rates of cardiovascular symptoms are high, owing to the systemic inflammatory response and immune system disorders during disease progression, but acute myocardial injuries may also be related to ACE2 receptors in the heart.[87] ACE2 receptors are highly expressed in the heart and are involved in heart function.[87][90] A high incidence of thrombosis (31%) and venous thromboembolism (25%) have been found in ICU patients with COVID‑19 infections and may be related to poor prognosis.[91][92] Blood vessel dysfunction and clot formation (as suggested by high D-dimer levels) are thought to play a significant role in mortality, incidences of clots leading to pulmonary embolisms, and ischaemic events within the brain have been noted as complications leading to death in patients infected with SARS-CoV-2. Infection appears to set off a chain of vasoconstrictive responses within the body, constriction of blood vessels within the pulmonary circulation has also been posited as a mechanism in which oxygenation decreases alongside with the presentation of viral pneumonia.[93]
Another common cause of death is complications related to the kidneys[93]—SARS-CoV-2 directly infects kidney cells, as confirmed in post-mortem studies. Acute kidney injury is a common complication and cause of death; this is more significant in patients with already compromised kidney function, especially in people with pre-existing chronic conditions such as hypertension and diabetes which specifically cause nephropathy in the long run.[94]
Autopsies of people who died of COVID‑19 have found diffuse alveolar damage (DAD), and lymphocyte-containing inflammatory infiltrates within the lung.[95]
Immunopathology
Although SARS-COV-2 has a tropism for ACE2-expressing epithelial cells of the respiratory tract, patients with severe COVID‑19 have symptoms of systemic hyperinflammation. Clinical laboratory findings of elevated IL-2, IL-7, IL-6, granulocyte-macrophage colony-stimulating factor (GM-CSF), interferon-γ inducible protein 10 (IP-10), monocyte chemoattractant protein 1 (MCP-1), macrophage inflammatory protein 1-α (MIP-1α), and tumour necrosis factor-α (TNF-α) indicative of cytokine release syndrome (CRS) suggest an underlying immunopathology.[96]
Additionally, people with COVID‑19 and acute respiratory distress syndrome (ARDS) have classical serum biomarkers of CRS, including elevated C-reactive protein (CRP), lactate dehydrogenase (LDH), D-dimer, and ferritin.[97]
Systemic inflammation results in vasodilation, allowing inflammatory lymphocytic and monocytic infiltration of the lung and the heart. In particular, pathogenic GM-CSF-secreting T-cells were shown to correlate with the recruitment of inflammatory IL-6-secreting monocytes and severe lung pathology in COVID‑19 patients.[98] Lymphocytic infiltrates have also been reported at autopsy.[95]
Diagnosis
Main article: COVID-19 testing
Demonstration of a nasopharyngeal swab for COVID-19 testing
CDC rRT-PCR test kit for COVID-19[99]
The WHO has published several testing protocols for the disease.[100] The standard method of testing is real-time reverse transcription polymerase chain reaction (rRT-PCR).[101] The test is typically done on respiratory samples obtained by a nasopharyngeal swab; however, a nasal swab or sputum sample may also be used.[25][102] Results are generally available within a few hours to two days.[103][104] Blood tests can be used, but these require two blood samples taken two weeks apart, and the results have little immediate value.[105] Chinese scientists were able to isolate a strain of the coronavirus and publish the genetic sequence so laboratories across the world could independently develop polymerase chain reaction (PCR) tests to detect infection by the virus.[9][106][107] As of 4 April 2020, antibody tests (which may detect active infections and whether a person had been infected in the past) were in development, but not yet widely used.[108][109][110] The Chinese experience with testing has shown the accuracy is only 60 to 70%.[111] The FDA in the United States approved the first point-of-care test on 21 March 2020 for use at the end of that month.[112]
Diagnostic guidelines released by Zhongnan Hospital of Wuhan University suggested methods for detecting infections based upon clinical features and epidemiological risk. These involved identifying people who had at least two of the following symptoms in addition to a history of travel to Wuhan or contact with other infected people: fever, imaging features of pneumonia, normal or reduced white blood cell count, or reduced lymphocyte count.[113]
A study asked hospitalised COVID‑19 patients to cough into a sterile container, thus producing a saliva sample, and detected the virus in eleven of twelve patients using RT-PCR. This technique has the potential of being quicker than a swab and involving less risk to health care workers (collection at home or in the car).[64]
Along with laboratory testing, chest CT scans may be helpful to diagnose COVID-19 in individuals with a high clinical suspicion of infection but are not recommended for routine screening.[26][27] Bilateral multilobar ground-glass opacities with a peripheral, asymmetric, and posterior distribution are common in early infection.[26] Subpleural dominance, crazy paving (lobular septal thickening with variable alveolar filling), and consolidation may appear as the disease progresses.[26][114]
In late 2019, WHO assigned the emergency ICD-10 disease codes U07.1 for deaths from lab-confirmed SARS-CoV-2 infection and U07.2 for deaths from clinically or epidemiologically diagnosed COVID‑19 without lab-confirmed SARS-CoV-2 infection.[115]
Typical CT imaging findings
CT imaging of rapid progression stage
Pathology
Few data are available about microscopic lesions and the pathophysiology of COVID‑19.[116][117] The main pathological findings at autopsy are:
Macroscopy: pleurisy, pericarditis, lung consolidation and pulmonary oedema
Four types of severity of viral pneumonia can be observed:
minor pneumonia: minor serous exudation, minor fibrin exudation
mild pneumonia: pulmonary oedema, pneumocyte hyperplasia, large atypical pneumocytes, interstitial inflammation with lymphocytic infiltration and multinucleated giant cell formation
severe pneumonia: diffuse alveolar damage (DAD) with diffuse alveolar exudates. DAD is the cause of acute respiratory distress syndrome (ARDS) and severe hypoxemia.
healing pneumonia: organisation of exudates in alveolar cavities and pulmonary interstitial fibrosis
plasmocytosis in BAL[118]
Blood: disseminated intravascular coagulation (DIC);[119] leukoerythroblastic reaction[120]
Liver: microvesicular steatosis
Prevention
See also: 2019–20 coronavirus pandemic § Prevention, flatten the curve, and workplace hazard controls for COVID-19
Progressively stronger mitigation efforts to reduce the number of active cases at any given time—known as "flattening the curve"—allows healthcare services to better manage the same volume of patients.[121][122][123] Likewise, progressively greater increases in healthcare capacity—called raising the line—such as by increasing bed count, personnel, and equipment, helps to meet increased demand.[124]
Mitigation attempts that are inadequate in strictness or duration—such as premature relaxation of distancing rules or stay-at-home orders—can allow a resurgence after the initial surge and mitigation.[122][125]
Preventive measures to reduce the chances of infection include staying at home, avoiding crowded places, keeping distance from others, washing hands with soap and water often and for at least 20 seconds, practising good respiratory hygiene, and avoiding touching the eyes, nose, or mouth with unwashed hands.[126][127][128] The CDC recommends covering the mouth and nose with a tissue when coughing or sneezing and recommends using the inside of the elbow if no tissue is available.[126] Proper hand hygiene after any cough or sneeze is encouraged.[126] The CDC has recommended the use of cloth face coverings in public settings where other social distancing measures are difficult to maintain, in part to limit transmission by asymptomatic individuals.[129] The U.S. National Institutes of Health guidelines do not recommend any medication for prevention of COVID‑19, before or after exposure to the SARS-CoV-2 virus, outside of the setting of a clinical trial.[130]
Social distancing strategies aim to reduce contact of infected persons with large groups by closing schools and workplaces, restricting travel, and cancelling large public gatherings.[131] Distancing guidelines also include that people stay at least 6 feet (1.8 m) apart.[132] There is no medication known to be effective at preventing COVID‑19.[133] After the implementation of social distancing and stay-at-home orders, many regions have been able to sustain an effective transmission rate ("Rt") of less than one, meaning the disease is in remission in those areas.[134]
As a vaccine is not expected until 2021 at the earliest,[135] a key part of managing COVID‑19 is trying to decrease the epidemic peak, known as "flattening the curve".[122] This is done by slowing the infection rate to decrease the risk of health services being overwhelmed, allowing for better treatment of current cases, and delaying additional cases until effective treatments or a vaccine become available.[122][125]
According to the WHO, the use of masks is recommended only if a person is coughing or sneezing or when one is taking care of someone with a suspected infection.[136] For the European Centre for Disease Prevention and Control (ECDC) face masks "... could be considered especially when visiting busy closed spaces ..." but "... only as a complementary measure ..."[137] Several countries have recommended that healthy individuals wear face masks or cloth face coverings (like scarves or bandanas) at least in certain public settings, including China,[138] Hong Kong,[139] Spain,[140] Italy (Lombardy region),[141] and the United States.[129]
Those diagnosed with COVID‑19 or who believe they may be infected are advised by the CDC to stay home except to get medical care, call ahead before visiting a healthcare provider, wear a face mask before entering the healthcare provider's office and when in any room or vehicle with another person, cover coughs and sneezes with a tissue, regularly wash hands with soap and water and avoid sharing personal household items.[30][142] The CDC also recommends that individuals wash hands often with soap and water for at least 20 seconds, especially after going to the toilet or when hands are visibly dirty, before eating and after blowing one's nose, coughing or sneezing. It further recommends using an alcohol-based hand sanitiser with at least 60% alcohol, but only when soap and water are not readily available.[126]
For areas where commercial hand sanitisers are not readily available, the WHO provides two formulations for local production. In these formulations, the antimicrobial activity arises from ethanol or isopropanol. Hydrogen peroxide is used to help eliminate bacterial spores in the alcohol; it is "not an active substance for hand antisepsis". Glycerol is added as a humectant.[143]
Prevention efforts are multiplicative, with effects far beyond that of a single spread. Each avoided case leads to more avoided cases down the line, which in turn can stop the outbreak in its tracks.
File:COVID19 W ENG.ogv
Handwashing instructions
Management
People are managed with supportive care, which may include fluid therapy, oxygen support, and supporting other affected vital organs.[144][145][146] The CDC recommends that those who suspect they carry the virus wear a simple face mask.[30] Extracorporeal membrane oxygenation (ECMO) has been used to address the issue of respiratory failure, but its benefits are still under consideration.[41][147] Personal hygiene and a healthy lifestyle and diet have been recommended to improve immunity.[148] Supportive treatments may be useful in those with mild symptoms at the early stage of infection.[149]
The WHO, the Chinese National Health Commission, and the United States' National Institutes of Health have published recommendations for taking care of people who are hospitalised with COVID‑19.[130][150][151] Intensivists and pulmonologists in the U.S. have compiled treatment recommendations from various agencies into a free resource, the IBCC.[152][153]
Medications
See also: Coronavirus disease 2019 § Research
As of April 2020, there is no specific treatment for COVID‑19.[6][133] Research is, however, ongoing. For symptoms, some medical professionals recommend paracetamol (acetaminophen) over ibuprofen for first-line use.[154][155][156] The WHO and NIH do not oppose the use of non-steroidal anti-inflammatory drugs (NSAIDs) such as ibuprofen for symptoms,[130][157] and the FDA says currently there is no evidence that NSAIDs worsen COVID‑19 symptoms.[158]
While theoretical concerns have been raised about ACE inhibitors and angiotensin receptor blockers, as of 19 March 2020, these are not sufficient to justify stopping these medications.[130][159][160][161] Steroids, such as methylprednisolone, are not recommended unless the disease is complicated by acute respiratory distress syndrome.[162][163]
Medications to prevent blood clotting have been suggested for treatment,[91] and anticoagulant therapy with low molecular weight heparin appears to be associated with better outcomes in severe COVID‐19 showing signs of coagulopathy (elevated D-dimer).[164]
Protective equipment
See also: COVID-19 related shortages
The CDC recommends four steps to putting on personal protective equipment (PPE).[165]
Precautions must be taken to minimise the risk of virus transmission, especially in healthcare settings when performing procedures that can generate aerosols, such as intubation or hand ventilation.[166] For healthcare professionals caring for people with COVID‑19, the CDC recommends placing the person in an Airborne Infection Isolation Room (AIIR) in addition to using standard precautions, contact precautions, and airborne precautions.[167]
The CDC outlines the guidelines for the use of personal protective equipment (PPE) during the pandemic. The recommended gear is a PPE gown, respirator or facemask, eye protection, and medical gloves.[168][169]
When available, respirators (instead of facemasks) are preferred.[170] N95 respirators are approved for industrial settings but the FDA has authorised the masks for use under an Emergency Use Authorisation (EUA). They are designed to protect from airborne particles like dust but effectiveness against a specific biological agent is not guaranteed for off-label uses.[171] When masks are not available, the CDC recommends using face shields or, as a last resort, homemade masks.[172]
Mechanical ventilation
Most cases of COVID‑19 are not severe enough to require mechanical ventilation or alternatives, but a percentage of cases are.[173][174] The type of respiratory support for individuals with COVID‑19 related respiratory failure is being actively studied for people in the hospital, with some evidence that intubation can be avoided with a high flow nasal cannula or bi-level positive airway pressure.[175] Whether either of these two leads to the same benefit for people who are critically ill is not known.[176] Some doctors prefer staying with invasive mechanical ventilation when available because this technique limits the spread of aerosol particles compared to a high flow nasal cannula.[173]
Severe cases are most common in older adults (those older than 60 years,[173] and especially those older than 80 years).[177] Many developed countries do not have enough hospital beds per capita, which limits a health system's capacity to handle a sudden spike in the number of COVID‑19 cases severe enough to require hospitalisation.[178] This limited capacity is a significant driver behind calls to flatten the curve.[178] One study in China found 5% were admitted to intensive care units, 2.3% needed mechanical support of ventilation, and 1.4% died.[41] In China, approximately 30% of people in hospital with COVID‑19 are eventually admitted to ICU.[4]
Acute respiratory distress syndrome
Main article: Acute respiratory distress syndrome
Mechanical ventilation becomes more complex as acute respiratory distress syndrome (ARDS) develops in COVID‑19 and oxygenation becomes increasingly difficult.[179] Ventilators capable of pressure control modes and high PEEP[180] are needed to maximise oxygen delivery while minimising the risk of ventilator-associated lung injury and pneumothorax.[181] High PEEP may not be available on older ventilators.
Options for ARDS[179]
TherapyRecommendations
High-flow nasal oxygenFor SpO2 <93%. May prevent the need for intubation and ventilation
Tidal volume6mL per kg and can be reduced to 4mL/kg
Plateau airway pressureKeep below 30 cmH2O if possible (high respiratory rate (35 per minute) may be required)
Positive end-expiratory pressureModerate to high levels
Prone positioningFor worsening oxygenation
Fluid managementGoal is a negative balance of 0.5–1.0L per day
AntibioticsFor secondary bacterial infections
GlucocorticoidsNot recommended
Experimental treatment
See also: § Research
Research into potential treatments started in January 2020,[182] and several antiviral drugs are in clinical trials.[183][184] Remdesivir appears to be the most promising.[133] Although new medications may take until 2021 to develop,[185] several of the medications being tested are already approved for other uses or are already in advanced testing.[186] Antiviral medication may be tried in people with severe disease.[144] The WHO recommended volunteers take part in trials of the effectiveness and safety of potential treatments.[187]
The FDA has granted temporary authorisation to convalescent plasma as an experimental treatment in cases where the person's life is seriously or immediately threatened. It has not undergone the clinical studies needed to show it is safe and effective for the disease.[188][189][190]
Information technology
See also: Contact tracing and Government by algorithm
In February 2020, China launched a mobile app to deal with the disease outbreak.[191] Users are asked to enter their name and ID number. The app can detect 'close contact' using surveillance data and therefore a potential risk of infection. Every user can also check the status of three other users. If a potential risk is detected, the app not only recommends self-quarantine, it also alerts local health officials.[192]
Big data analytics on cellphone data, facial recognition technology, mobile phone tracking, and artificial intelligence are used to track infected people and people whom they contacted in South Korea, Taiwan, and Singapore.[193][194] In March 2020, the Israeli government enabled security agencies to track mobile phone data of people supposed to have coronavirus. The measure was taken to enforce quarantine and protect those who may come into contact with infected citizens.[195] Also in March 2020, Deutsche Telekom shared aggregated phone location data with the German federal government agency, Robert Koch Institute, to research and prevent the spread of the virus.[196] Russia deployed facial recognition technology to detect quarantine breakers.[197] Italian regional health commissioner Giulio Gallera said he has been informed by mobile phone operators that "40% of people are continuing to move around anyway".[198] German government conducted a 48 hours weekend hackathon with more than 42.000 participants.[199][200] Two million people in the UK used an app developed in March 2020 by King's College London and Zoe to track people with COVID‑19 symptoms.[201] Also, the president of Estonia, Kersti Kaljulaid, made a global call for creative solutions against the spread of coronavirus.[202]
Psychological support
See also: Mental health during the 2019–20 coronavirus pandemic
Individuals may experience distress from quarantine, travel restrictions, side effects of treatment, or fear of the infection itself. To address these concerns, the National Health Commission of China published a national guideline for psychological crisis intervention on 27 January 2020.[203][204]
The Lancet published a 14-page call for action focusing on the UK and stated conditions were such that a range of mental health issues was likely to become more common. BBC quoted Rory O'Connor in saying, "Increased social isolation, loneliness, health anxiety, stress and an economic downturn are a perfect storm to harm people's mental health and wellbeing."[205][206]
Prognosis
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The severity of diagnosed cases in China
The severity of diagnosed COVID-19 cases in China[207]
Case fatality rates for COVID-19 by age by country.
Case fatality rates by age group:
China, as of 11 February 2020[208]
South Korea, as of 15 April 2020[209]
Spain, as of 24 April 2020[210]
Italy, as of 23 April 2020[211]
Case fatality rate depending on other health problems
Case fatality rate in China depending on other health problems. Data through 11 February 2020.[208]
Case fatality rate by country and number of cases
The number of deaths vs total cases by country and approximate case fatality rate[212]
The severity of COVID‑19 varies. The disease may take a mild course with few or no symptoms, resembling other common upper respiratory diseases such as the common cold. Mild cases typically recover within two weeks, while those with severe or critical diseases may take three to six weeks to recover. Among those who have died, the time from symptom onset to death has ranged from two to eight weeks.[47]
Children make up a small proportion of reported cases, with about 1% of cases being under 10 years, and 4% aged 10-19 years.[22] They are likely to have milder symptoms and a lower chance of severe disease than adults; in those younger than 50 years, the risk of death is less than 0.5%, while in those older than 70 it is more than 8%.[213][214][215] Pregnant women may be at higher risk for severe infection with COVID-19 based on data from other similar viruses, like SARS and MERS, but data for COVID-19 is lacking.[216][217] In China, children acquired infections mainly through close contact with their parents or other family members who lived in Wuhan or had traveled there.[213]
In some people, COVID‑19 may affect the lungs causing pneumonia. In those most severely affected, COVID-19 may rapidly progress to acute respiratory distress syndrome (ARDS) causing respiratory failure, septic shock, or multi-organ failure.[218][219] Complications associated with COVID‑19 include sepsis, abnormal clotting, and damage to the heart, kidneys, and liver. Clotting abnormalities, specifically an increase in prothrombin time, have been described in 6% of those admitted to hospital with COVID-19, while abnormal kidney function is seen in 4% of this group.[220] Approximately 20-30% of people who present with COVID‑19 demonstrate elevated liver enzymes (transaminases).[133] Liver injury as shown by blood markers of liver damage is frequently seen in severe cases.[221]
Some studies have found that the neutrophil to lymphocyte ratio (NLR) may be helpful in early screening for severe illness.[222]
Most of those who die of COVID‑19 have pre-existing (underlying) conditions, including hypertension, diabetes mellitus, and cardiovascular disease.[223] The Istituto Superiore di Sanità reported that out of 8.8% of deaths where medical charts were available for review, 97.2% of sampled patients had at least one comorbidity with the average patient having 2.7 diseases.[224] According to the same report, the median time between the onset of symptoms and death was ten days, with five being spent hospitalised. However, patients transferred to an ICU had a median time of seven days between hospitalisation and death.[224] In a study of early cases, the median time from exhibiting initial symptoms to death was 14 days, with a full range of six to 41 days.[225] In a study by the National Health Commission (NHC) of China, men had a death rate of 2.8% while women had a death rate of 1.7%.[226] Histopathological examinations of post-mortem lung samples show diffuse alveolar damage with cellular fibromyxoid exudates in both lungs. Viral cytopathic changes were observed in the pneumocytes. The lung picture resembled acute respiratory distress syndrome (ARDS).[47] In 11.8% of the deaths reported by the National Health Commission of China, heart damage was noted by elevated levels of troponin or cardiac arrest.[49] According to March data from the United States, 89% of those hospitalised had preexisting conditions.[227]
The availability of medical resources and the socioeconomics of a region may also affect mortality.[228] Estimates of the mortality from the condition vary because of those regional differences,[229] but also because of methodological difficulties. The under-counting of mild cases can cause the mortality rate to be overestimated.[230] However, the fact that deaths are the result of cases contracted in the past can mean the current mortality rate is underestimated.[231][232] Smokers were 1.4 times more likely to have severe symptoms of COVID‑19 and approximately 2.4 times more likely to require intensive care or die compared to non-smokers.[233]
Concerns have been raised about long-term sequelae of the disease. The Hong Kong Hospital Authority found a drop of 20% to 30% in lung capacity in some people who recovered from the disease, and lung scans suggested organ damage.[234] This may also lead to post-intensive care syndrome following recovery.[235]
Case fatality rates (%) by age and country
Age0–910–1920–2930–3940–4950–5960–6970–7980-8990+
China as of 11 February[208]0.00.20.20.20.41.33.68.014.8
Denmark as of 25 April[236]0.24.515.524.940.7
Italy as of 23 April[211]0.20.00.10.40.92.610.024.930.826.1
Netherlands as of 17 April[237]0.00.30.10.20.51.57.623.230.029.3
Portugal as of 24 April[238]0.00.00.00.00.30.62.88.516.5
S. Korea as of 15 April[209]0.00.00.00.10.20.72.59.722.2
Spain as of 24 April[210]0.30.40.30.30.61.34.413.220.320.1
Switzerland as of 25 April[239]0.90.00.00.10.00.52.710.124.0
Case fatality rates (%) by age in the United States
Age0–1920–4445–5455–6465–7475–8485+
United States as of 16 March[240]0.00.1–0.20.5–0.81.4–2.62.7–4.94.3–10.510.4–27.3
Note: The lower bound includes all cases. The upper bound excludes cases that were missing data.
Estimate of infection fatality rates and probability of severe disease course (%) by age based on cases from China[241]
0–910–1920–2930–3940–4950–5960–6970–7980+
Severe disease0.0
(0.0–0.0)0.04
(0.02–0.08)1.0
(0.62–2.1)3.4
(2.0–7.0)4.3
(2.5–8.7)8.2
(4.9–17)11
(7.0–24)17
(9.9–34)18
(11–38)
Death0.0016
(0.00016–0.025)0.0070
(0.0015–0.050)0.031
(0.014–0.092)0.084
(0.041–0.19)0.16
(0.076–0.32)0.60
(0.34–1.3)1.9
(1.1–3.9)4.3
(2.5–8.4)7.8
(3.8–13)
Total infection fatality rate is estimated to be 0.66% (0.39–1.3). Infection fatality rate is fatality per all infected individuals, regardless of whether they were diagnosed or had any symptoms. Numbers in parentheses are 95% credible intervals for the estimates.
Reinfection
As of March 2020, it was unknown if past infection provides effective and long-term immunity in people who recover from the disease.[242] Immunity is seen as likely, based on the behaviour of other coronaviruses,[243] but cases in which recovery from COVID‑19 have been followed by positive tests for coronavirus at a later date have been reported.[244][245][246][247] These cases are believed to be worsening of a lingering infection rather than re-infection.[247]
History
Main article: Timeline of the 2019–20 coronavirus pandemic
The virus is thought to be natural and has an animal origin,[77] through spillover infection.[248] The actual origin is unknown, but by December 2019 the spread of infection was almost entirely driven by human-to-human transmission.[208][249] A study of the first 41 cases of confirmed COVID‑19, published in January 2020 in The Lancet, revealed the earliest date of onset of symptoms as 1 December 2019.[250][251][252] Official publications from the WHO reported the earliest onset of symptoms as 8 December 2019.[253] Human-to-human transmission was confirmed by the WHO and Chinese authorities by 20 January 2020.[254][255]
Epidemiology
Main article: 2019–20 coronavirus pandemic
Several measures are commonly used to quantify mortality.[256] These numbers vary by region and over time and are influenced by the volume of testing, healthcare system quality, treatment options, time since the initial outbreak, and population characteristics such as age, sex, and overall health.[257]
The death-to-case ratio reflects the number of deaths divided by the number of diagnosed cases within a given time interval. Based on Johns Hopkins University statistics, the global death-to-case ratio is 7.0% (203,044/2,899,830) as of 26 April 2020.[7] The number varies by region.[258]
Other measures include the case fatality rate (CFR), which reflects the percent of diagnosed individuals who die from a disease, and the infection fatality rate (IFR), which reflects the percent of infected individuals (diagnosed and undiagnosed) who die from a disease. These statistics are not time-bound and follow a specific population from infection through case resolution. Many academics have attempted to calculate these numbers for specific populations.[259]
Total confirmed cases over time
Total deaths over time
Total confirmed cases of COVID‑19 per million people, 10 April 2020[260]
Total confirmed deaths due to COVID‑19 per million people, 10 April 2020[261]
Infection fatality rate
Our World in Data states that as of March 25, 2020, the infection fatality rate (IFR) cannot be accurately calculated.[262] In February, the World Health Organization estimated the IFR at 0.94%, with a confidence interval between 0.37 percent to 2.9 percent.[263] The University of Oxford Centre for Evidence-Based Medicine (CEBM) estimated a global CFR of 0.72 percent and IFR of 0.1 percent to 0.36 percent.[264] According to CEBM, random antibody testing in Germany suggested an IFR of 0.37 percent there.[264] Firm lower limits to local infection fatality rates were established, such as in Bergamo province, where 0.57% of the population has died, leading to a minimum IFR of 0.57% in the province. This population fatality rate (PFR) minimum increases as more people get infected and run through their disease.[265][266] Similarly, as of April 22 in the New York City area, there were 15,411 deaths confirmed from COVID-19, and 19,200 excess deaths.[267] Very recently, the first results of antibody testing have come in, but there are no valid scientific reports based on them available yet. A Bloomberg Opinion piece provides a survey.[268][269]
Sex differences
Main article: Gendered impact of the 2019–20 coronavirus pandemic
The impact of the pandemic and its mortality rate are different for men and women.[270] Mortality is higher in men in studies conducted in China and Italy.[271][272][273] The highest risk for men is in their 50s, with the gap between men and women closing only at 90.[273] In China, the death rate was 2.8 percent for men and 1.7 percent for women.[273] The exact reasons for this sex-difference are not known, but genetic and behavioural factors could be a reason.[270] Sex-based immunological differences, a lower prevalence of smoking in women, and men developing co-morbid conditions such as hypertension at a younger age than women could have contributed to the higher mortality in men.[273] In Europe, of those infected with COVID‑19, 57% were men; of those infected with COVID‑19 who also died, 72% were men.[274] As of April 2020, the U.S. government is not tracking sex-related data of COVID‑19 infections.[275] Research has shown that viral illnesses like Ebola, HIV, influenza, and SARS affect men and women differently.[275] A higher percentage of health workers, particularly nurses, are women, and they have a higher chance of being exposed to the virus.[276] School closures, lockdowns, and reduced access to healthcare following the 2019–20 coronavirus pandemic may differentially affect the genders and possibly exaggerate existing gender disparity.[270][277]
Society and culture
Name
During the initial outbreak in Wuhan, China, the virus and disease were commonly referred to as "coronavirus" and "Wuhan coronavirus",[278][279][280] with the disease sometimes called "Wuhan pneumonia".[281][282] In the past, many diseases have been named after geographical locations, such as the Spanish flu,[283] Middle East Respiratory Syndrome, and Zika virus.[284]
In January 2020, the World Health Organisation recommended 2019-nCov[285] and 2019-nCoV acute respiratory disease[286] as interim names for the virus and disease per 2015 guidance and international guidelines against using geographical locations (e.g. Wuhan, China), animal species or groups of people in disease and virus names to prevent social stigma.[287][288][289]
The official names COVID‑19 and SARS-CoV-2 were issued by the WHO on 11 February 2020.[290] WHO chief Tedros Adhanom Ghebreyesus explained: CO for corona, VI for virus, D for disease and 19 for when the outbreak was first identified (31 December 2019).[291] The WHO additionally uses "the COVID‑19 virus" and "the virus responsible for COVID‑19" in public communications.[290] Both the disease and virus are commonly referred to as "coronavirus" in the media and public discourse.
Misinformation
Main article: Misinformation related to the 2019–20 coronavirus pandemic
After the initial outbreak of COVID‑19, conspiracy theories, misinformation, and disinformation emerged regarding the origin, scale, prevention, treatment, and other aspects of the disease and rapidly spread online.[292][293][294][295]
Protests
Beginning April 17, 2020, news media began reporting on a wave of demonstrations protesting against state-mandated quarantine restrictions in in Michigan, Ohio, and Kentucky.[296][297]
Other animals
Humans appear to be capable of spreading the virus to some other animals. A domestic cat in Liège, Belgium, tested positive after it started showing symptoms (diarrhoea, vomiting, shortness of breath) a week later than its owner, who was also positive.[298] Tigers at the Bronx Zoo in New York, United States, tested positive for the virus and showed symptoms of COVID‑19, including a dry cough and loss of appetite.[299]
A study on domesticated animals inoculated with the virus found that cats and ferrets appear to be "highly susceptible" to the disease, while dogs appear to be less susceptible, with lower levels of viral replication. The study failed to find evidence of viral replication in pigs, ducks, and chickens.[300]
Research
Main article: COVID-19 drug development
No medication or vaccine is approved to treat the disease.[186] International research on vaccines and medicines in COVID‑19 is underway by government organisations, academic groups, and industry researchers.[301][302] In March, the World Health Organisation initiated the "SOLIDARITY Trial" to assess the treatment effects of four existing antiviral compounds with the most promise of efficacy.[303]
Vaccine
Main article: COVID-19 vaccine
There is no available vaccine, but various agencies are actively developing vaccine candidates. Previous work on SARS-CoV is being used because both SARS-CoV and SARS-CoV-2 use the ACE2 receptor to enter human cells.[304] Three vaccination strategies are being investigated. First, researchers aim to build a whole virus vaccine. The use of such a virus, be it inactive or dead, aims to elicit a prompt immune response of the human body to a new infection with COVID‑19. A second strategy, subunit vaccines, aims to create a vaccine that sensitises the immune system to certain subunits of the virus. In the case of SARS-CoV-2, such research focuses on the S-spike protein that helps the virus intrude the ACE2 enzyme receptor. A third strategy is that of the nucleic acid vaccines (DNA or RNA vaccines, a novel technique for creating a vaccination). Experimental vaccines from any of these strategies would have to be tested for safety and efficacy.[305]
On 16 March 2020, the first clinical trial of a vaccine started with four volunteers in Seattle, United States. The vaccine contains a harmless genetic code copied from the virus that causes the disease.[306]
Antibody-dependent enhancement has been suggested as a potential challenge for vaccine development for SARS-COV-2, but this is controversial.[307]
Medications
Main article: COVID-19 drug repurposing research
At least 29 phase II–IV efficacy trials in COVID‑19 were concluded in March 2020 or scheduled to provide results in April from hospitals in China.[308][309] There are more than 300 active clinical trials underway as of April 2020.[133] Seven trials were evaluating already approved treatments, including four studies on hydroxychloroquine or chloroquine.[309] Repurposed antiviral drugs make up most of the Chinese research, with nine phase III trials on remdesivir across several countries due to report by the end of April.[308][309] Other candidates in trials include vasodilators, corticosteroids, immune therapies, lipoic acid, bevacizumab, and recombinant angiotensin-converting enzyme 2.[309]
The COVID‑19 Clinical Research Coalition has goals to 1) facilitate rapid reviews of clinical trial proposals by ethics committees and national regulatory agencies, 2) fast-track approvals for the candidate therapeutic compounds, 3) ensure standardised and rapid analysis of emerging efficacy and safety data and 4) facilitate sharing of clinical trial outcomes before publication.[310][311]
Several existing medications are being evaluated for the treatment of COVID‑19,[186] including remdesivir, chloroquine, hydroxychloroquine, lopinavir/ritonavir, and lopinavir/ritonavir combined with interferon beta.[303][312] There is tentative evidence for efficacy by remdesivir, as of March 2020.[313][314] Clinical improvement was observed in patients treated with compassionate-use remdesivir.[315] Remdesivir inhibits SARS-CoV-2 in vitro.[316] Phase III clinical trials are underway in the U.S., China, and Italy.[186][308][317]
In 2020, a trial found that lopinavir/ritonavir was ineffective in the treatment of severe illness.[318] Nitazoxanide has been recommended for further in vivo study after demonstrating low concentration inhibition of SARS-CoV-2.[316]
There are mixed results as of 3 April 2020 as to the effectiveness of hydroxychloroquine as a treatment for COVID‑19, with some studies showing little or no improvement.[319][320] The studies of chloroquine and hydroxychloroquine with or without azithromycin have major limitations that have prevented the medical community from embracing these therapies without further study.[133]
Oseltamivir does not inhibit SARS-CoV-2 in vitro and has no known role in COVID‑19 treatment.[133]
Anti-cytokine storm
Cytokine release syndrome (CRS) can be a complication in the later stages of severe COVID‑19. There is preliminary evidence that hydroxychloroquine may have anti-cytokine storm properties.[321]
Tocilizumab has been included in treatment guidelines by China's National Health Commission after a small study was completed.[322][323] It is undergoing a phase 2 non-randomised trial at the national level in Italy after showing positive results in people with severe disease.[324][325] Combined with a serum ferritin blood test to identify cytokine storms, it is meant to counter such developments, which are thought to be the cause of death in some affected people.[326][327][328] The interleukin-6 receptor antagonist was approved by the FDA to undergo a phase III clinical trial assessing the medication's impact on COVID‑19 based on retrospective case studies for the treatment of steroid-refractory cytokine release syndrome induced by a different cause, CAR T cell therapy, in 2017.[329] To date, there is no randomised, controlled evidence that tocilizumab is an efficacious treatment for CRS. Prophylactic tocilizumab has been shown to increase serum IL-6 levels by saturating the IL-6R, driving IL-6 across the blood-brain barrier, and exacerbating neurotoxicity while having no impact on the incidence of CRS.[330]
Lenzilumab, an anti-GM-CSF monoclonal antibody, is protective in murine models for CAR T cell-induced CRS and neurotoxicity and is a viable therapeutic option due to the observed increase of pathogenic GM-CSF secreting T-cells in hospitalised patients with COVID‑19.[331]
The Feinstein Institute of Northwell Health announced in March a study on "a human antibody that may prevent the activity" of IL-6.[332]
Passive antibodies
Transferring purified and concentrated antibodies produced by the immune systems of those who have recovered from COVID‑19 to people who need them is being investigated as a non-vaccine method of passive immunisation.[333] This strategy was tried for SARS with inconclusive results.[333] Viral neutralisation is the anticipated mechanism of action by which passive antibody therapy can mediate defence against SARS-CoV-2. Other mechanisms, however, such as antibody-dependent cellular cytotoxicity and/or phagocytosis, may be possible.[333] Other forms of passive antibody therapy, for example, using manufactured monoclonal antibodies, are in development.[333] Production of convalescent serum, which consists of the liquid portion of the blood from recovered patients and contains antibodies specific to this virus, could be increased for quicker deployment.[334]
For the photo challenge, I wanted to take a satiric look at the vampire film genre because in general, I have a difficulty being evil. One of my favorite films was the visual inspiration for this competition, 2004’s “Van Helsing”. Dracula's Masquerade Ball sequence specifically with its explosion of extravagance. This film has always been a bit ‘off’ for me. Overplayed from start to finish to the point of comedy, complete with 400-something vampires tooling around 18th century Budapest speaking to each other in English with fake Hungarian accents, when there are no English speakers present. The actor who played Count Vladislaus Dracula, Richard Roxburgh expressed it best, and I’m paraphrasing, that he played the role on the edge of camp, lamenting in one scene, “I’m at vor vit de verld” as he walks sideways up a wall. So with that, I give you my entry, “Lord Ruthven”.
Love Love Love. —SC
—————
Why I chose Lord Ruthven. The world worships the original, as do I. Sadly, Dracula was not the original vampire in English literature. In 1816. “The Year Without a Summer,” a group of literary notables gathered at the summer residence of poet Lord Byron. Mary Shelley wrote “Frankenstein,” and John Polidori Lord Byron’s physician spun a nightmarish short story published on April 1, 1819, “The Vampyre,” giving birth to the first undead fiend “Lord Ruthven.” Described as “exceedingly handsome, but distressingly pale with dead gray eyes.” He was a cold-blooded killer. No pity. No remorse. No delusions of morality. He preyed on the innocents of high society to satisfy his cravings — alluring, extremely dangerous, bound only by night, absorbing his supernatural powers from the Moon. I love this character because I love the allure of 18-century literature expressed in a stylized gothic interpretation of Lord Ruthven designed by the Queen of Goth Couture, Raven Pennyfeather.
—————
Styling notes:
For the MR SL 2020’S Halloween runway & photo challenge I’m wearing a custom textured jacket with lace cuffs and leggings, with lace-up riding boots, raven feather cape designed by the Queen of Goth Couture, Raven Pennyfeather for the House of Rfyre. Other accessories include a top hat by Couture Chapeau, with added point d’espirit veil by Licole Female Fashion. Crescent Moon Necklace that gives me power from the moon is by Glam Jewelry and Maple Leaf Necklace for mother Canada worn as a belt is by Footpaw Industries both recolored by me.
Music, and some over-acting, Dracula's Masquerade Ball:
Music only —> www.youtube.com/watch?v=2EK31R9KpAI
Full scene —> www.youtube.com/watch?v=g1BQrq2rZ8g
Jacket and Cape
marketplace.secondlife.com/p/RFYRE-RAVEN-SERIES-MENS-NO-T...
Riding Boots
marketplace.secondlife.com/p/RFYRE-SYMPHONY-MENS-RIDING-B...
Top Hat
marketplace.secondlife.com/p/CC-Highlander-Tophat-Black/6...
Veil
marketplace.secondlife.com/p/Lc-Carrie-Veil-Silver/6141491
Make Up
marketplace.secondlife.com/p/CNZ-Demonik-Eyeshadow-Eyes/1...
Red Maple Leaf Set
marketplace.secondlife.com/p/FPI-Red-Maple-Leaf-Set/1664703
Crecent Moon Necklace
marketplace.secondlife.com/p/FF-Crescent-Moon-Necklace/70...
Pose
Posesion Hector 9
Eyes
Ikon Promise Eyes Wight
Our difficulty is we don’t see things as they really are. Dharma helps us to understand how to see things as they actually are. When we do this, it stops our negative mind, negative projections, and negative emotions. Then our life becomes simpler and more peaceful, and it also gives us a great opportunity to take more responsibility, with more compassion, and we can handle problems in a much more positive way. Problems then don’t become real problems. We become more accepting and understanding of what is happening around us, whether it concerns business or relatives. There is no separation; there are not two worlds, of business and private life.~ Lama Zopa Rinpoche
High potential? Parents want to know
Psychological examinations are increasingly common to identify gifted children. It’s a trend that hides a complex reality, as gifted children can also be prone to failure.
Enéa gets good marks. But she disturbs the class, talks a lot and complains often. This situation surprises her mother, Stéphanie Laurent. At home, this seven-year old schoolgirl from Lausanne is quiet, responsible and not the type to bother others. What’s wrong? School. Enéa is bored. A teacher friend advised Stéphanie Laurent to enter her daughter for tests to determine whether she was “high potential”. And the result came back positive.
High potential (HP) children are referred to as gifted or precocious. They are sometimes compared with child prodigies, which is one reason for the increase in requests for psychological examinations. “Interest in these tests is growing,” states Pierre Fumeaux, a child psychiatrist at Lausanne University Hospital who is currently conducting a study on the subject. “A few years ago when parents or teachers had to deal with a difficult student, they would ask the doctor if the child was hyperactive. Now the term ‘high potential’ has taken centre stage in the media.” Contrary to popular belief, gifted is not always synonymous with success. High potential children can also be prone to failure.
A different brain
To be diagnosed as “HP”, an individual has to obtain a score of at least 130 on IQ tests. “But the score isn’t enough,” explains Claudia Jankech, a psychotherapist in Lausanne specialised in child and teenager psychology. “We also need to understand their family and social context and their personality.”
Surprisingly, a high number of HP children have trouble in school. “When it’s too easy for them, they get used to being on autopilot,” says the psychologist. “They’ve never learnt how to learn.” These difficulties are partly due to what specialists call arborescent thinking. “Normal people develop logical reasoning through linear, sequential thinking. However, the thought process in HP children is like fireworks exploding with ideas and impressive intuition. They can solve complex equations but will have difficulty explaining how they came up with the answer,” explains Pierre Fumeaux.
Surprisingly, a high number of HP children have trouble in school. “When it’s too easy for them, they get used to being on autopilot,” says the psychologist. “They’ve never learnt how to learn.”
Studies suggest that HP children’s brains function differently. Information moves better between the two cerebral hemispheres. “We assume that they use both their left and right brains easily and have excellent abilities in both logic and creativity,” says the child psychiatrist. “Other work has shown that HP children can more easily juggle with concepts and think in the abstract, such as performing mental calculations. “In a functional MRI, a dye is injected to highlight the areas of the brain with the highest blood flow.
Using a scanner, we can then see which areas are activated,” Pierre Fumeaux explains. “A stimulus or given task will activate certain areas of the brain in normal individuals. In HP children, sometimes several larger areas are activated at the same time,” he adds. These indicators help doctors understand how an HP mind works. “But our knowledge in neuroscience remains limited,” the researcher admits. “Being high potential is not an illness, but a special cognitive ability. And that’s not a priority for researchers.”
INTERVIEW: “The methods of diagnosis are debatable”
In a survey conducted on gifted children, the French sociologist Wilfried Lignier noted that specialists do not agree about the tests designed to diagnose giftedness.
In Vivo You observe that most gifted children don’t have difficulty in school or psychological problems. Why then do parents have them take tests?
Wilfried Lignier These parents are very concerned that their children will face difficulties, whereas they actually have every chance of success. They think that the school’s assessment is not enough. Psychology offers greater legitimacy for their concerns.
IV You approach giftedness as a “debated and debatable” issue. Why?
WL Many psychologists don’t recognise giftedness mainly because they doubt the credibility of IQ tests. These tests are meant to assess something other than academic skills, but in form they are quite similar to the exercises performed in school. Furthermore, children also have this impression. After the test is over, some say that they did well in the “maths” section, referring to the logical reasoning, or the “language” section, referring to the vocabulary. Being so similar to exercises done in school, these tests contradict the idea that intelligence isn’t the same as academic performance. Yet most of the social repercussions expected from test results are based on the idea that they tell a truth that school does not.
IV You show that the diagnosis swings in favour of one gender. How do you explain that high potential is more often diagnosed in boys?
WL Parents tend to express greater concern about their future, as it more readily carries their hopes of upward social mobility. The fact that boys have greater chances of having “symptoms”, such as openly expressing their boredom or not being able to stay still, also plays a role.
Hyper-sensitivity
HP children also typically have emotional characteristics featuring high sensitivity or a high level of empathy. Stéphanie Laurent’s two other children, boys, have also been diagnosed as high potential. “Nathael, age six, cries at Christmas because poor people are cold and have nothing to eat.” His hyper-sensitivity distresses him. “It can take on huge proportions. At one point, Mathys, age eight, felt unreasonable fear because he knew that there was a core on fire at the centre of the earth.” Myriam Bickle Graz, a developmental paediatrician at Lausanne University Hospital who wrote a thesis on the subject, says, “The children seen at consultations were often overwhelmed by their emotions. For some, it was incredibly difficult; they have no filter,” she explains. “The fear of death, for example, comes very early.” They develop symptoms such as anxiety, sleep disorders, strained relationships with other children and aggression.
THE HAPPIEST HP CHILDREN ARE THOSE WHO ARE NOT IDENTIFIED AS SUCH AND MANAGE TO ADAPT.
As in the Laurent family, there are often several gifted siblings. “Not all siblings are necessarily going to be HP, but there is a certain degree of genetic heritage. However, that hasn’t been proven scientifically,” explains Myriam Bickle Graz. “It remains a clinical observation.”
Although some high potential children suffer, the majority of them lead normal lives. As summed up by Pierre Fumeaux, “the happiest HP children are those who are not identified as such and manage to adapt.”
Arborescent thinking deploying in several directions, simultaneously, extremely fast and without boundaries. While it is a important source of creativity, it also implies: Difficulties to identify relevant information; all these thoughts in all directions may be confusing when the child is faced with a question, a problem or a task at school, An absolute need to organise these thoughts within a sturdy frame so that the child feels affectively, emotionally and socially secure. A “global” information processing system, with analogic and intuitive thinking. While it enables a very rich and deep understanding, with photographic memory, it also implies: Serious difficulties to adapt to the traditional schooling systems which treat information in details and sequentially (one thing after the other), An inability to develop arguments or justify their reasoning. Gifted children usually can’t explain their results, they consider the answers obvious, they know intuitively. The necessity to use in parallel the traditional school learning methods and their own knowledge aquisition systems; they do not want to feel useless, rejected or stupid. A thinking mode that needs meaning to function and complexity to develop and bloom. While it is an endless source of information data stored in an exceptional memory, it also implies: Difficulties or even refusal to acquire skills or information which they consider useless, too simple or not exciting enough to justify their attention and efforts, Constant challenges of established rules and norms, to satisfy their needs for meaning, To “learn how to learn” while taming their impatience through inventive and stimulating methodologies, with deep enrichment on all subjects. A way of thinking constantly integrating affective aspects of its environment. While it is a rich incentive to learning, it also implies: Frustration, even rejection of some teachers whom they see as incompetent in their teaching methods or behaviours, Excessive, even pathological reactions if these children, who try to master their environment and their variations, cannot find reassurance. They are scared by what they do not understand and they know, from a very young age, many things that they cannot put in perspective due to their short life experience. A need for constant reassurance on their learning progress, with a learning methodology adapted to their needs and offering a long-term continuity and homogeneity, thus reducing affective disruptions as much as possible.
anhugar.wifeo.com/arborescent-way-of-thinking.php A difficulty encountered by many gifed children is the fact that they think in an arborescent way instead of a linear one. The usual teaching methods are linear - when forced to learn in that mode, gifted children need to make a lot of efforts to voluntarily slow-down their “processing” thinking pace.
Arborescent thinking is very adequate for gifted people; it allows them to use all their mental capacities and their knowledge simultaneously. However, it needs to be guided and framed otherwise their thinking takes them far away from the subject of that day.
Here is an example from Jeanne Siaud-Fachin: The teacher gives a spelling test. He dictates “the boat sails on the sea”. The gifted child will initially visualize an image of a boat on the sea before seeing the sentence made of 6 words. Following the image, her thoughts will go in all directions: well, it is not a good idea to sail today because there is a lot of wind are there any people on that boat? my friend Frank owns a boat, he’s lucky but his parents are divorced, that is not fun I hope my parents will never get divorced yet, Frank has twice as many presents for Christmas now that he has 2 homes which reminds me, I have not yet prepared a wish-list for Christmas etc. While the other children have finished writing the initial sentance, the gifted child does not remember it at all and if she’s pressed, she may write the last sentence that went through her head “ I have not yet prepared a wish-list for Christmas ”.
Also
www.talentdifferent.com/la-pensee-en-arborescence-901.htm...
www.asep-suisse.org/joomla/index.php?option=com_docman&am... (pdf) How to help such children overcome their ‘handicap’
From the main link in the title (translated from the French by Google Chrome, I think): Surprisingly, a high number of high potential children have trouble in school. “When it’s too easy for them, they get used to being on autopilot,” says the psychologist. “They’ve never learnt how to learn.” These difficulties are partly due to what specialists call arborescent thinking. “Normal people develop logical reasoning through linear, sequential thinking. However, the thought process in HP children is like fireworks exploding with ideas and impressive intuition. They can solve complex equations but will have difficulty explaining how they came up with the answer,” explains Pierre Fumeaux.
Surprisingly, a high number of HP children have trouble in school. “When it’s too easy for them, they get used to being on autopilot,” says the psychologist. “They’ve never learnt how to learn.”
Studies suggest that HP children’s brains function differently. Information moves better between the two cerebral hemispheres. “We assume that they use both their left and right brains easily and have excellent abilities in both logic and creativity,” says the child psychiatrist. “Other work has shown that HP children can more easily juggle with concepts and think in the abstract, such as performing mental calculations. “In a functional MRI, a dye is injected to highlight the areas of the brain with the highest blood flow.
Laying crosswise under my chin, hard to read w iPhone and impossible with a book. Pepper doesn't mind being photographed but the phone made a kind of bright flash hence his underwhelmed expression. Since the weather turned cold he is much more insistent on taking this sort of position when I am in the recliner.
After reading a few articles on the globular cluster and the difficulties many amateur astronomers have had with this (at least on visual observations), I was curious if I could capture any data at all. NGC 6749 is nestled a dusty region of the constellation Aquila and has a magnitude of roughly 12.4. It is very faint and has a low surface brightness. Some references state that this is one of the faintest globular clusters in the entire NGC catalog.
The image shown is 21-minutes of collected data and you can clearly see the reddish glow in both images caused by looking “through” the Milky Way’s dust and gas. The cropped and zoomed image was further processed to boost the signal and clearly resolves some of the stars in this glob.
Tech Specs: Sky-Watcher Esprit 120mm ED Triplet APO Refractor, Canon 6D, ISO 3200, 21 x 60 seconds (with darks and bias frames), guided using a ZWO ASI290MC and 60mm guide scope. Stacked with DSS and processed in ImagesPlus. Image date: 29 July 2019. Location: The Dark Side Observatory in Weatherly, PA, USA.
One of the best ways to tell whether someone has borderline personality disorder (BPD) or narcissistic personality disorder (NPD) is to look at the way they express emotions. Depending upon which subtype they are (vulnerable vs. invulnerable), narcissists have shallow or limited emotions. People with BPD, on the other hand, are far too emotional. In fact, most of the borderline personality disorder criteria have to do with problems people with BPD have regulating their emotions. In this blog post, I'll look at BPD; the next, we'll explore the shallow emotions of those with NPD.
Just like people with diabetes have a problem regulating their blood sugar and must test it several times a day, people with BPD find it difficult to be emotionally consistent. This is why you're continually walking on eggshells, never knowing what to expect when you walk in the door.
Individuals with BPD feel the same emotions that we all do. The difference is that whether they're good or bad feelings, they're off the charts. "People with BPD are like people with third degree burns over 90 percent of their body," says Marsha M. Linehan, Ph.D., founder of Dialectical Behavioral Therapy. "Lacking emotional skin, they feel agony at the slightest touch or movement."
Of the nine criteria for BPD, four of them deal directly with emotions. They are:
Intense and quickly changing mood swings, irritability or anxiety. Most people can take steps to feel better when they feel bad. And they can control, to some extent, how they express their moods. But people with BPD find this difficult or impossible. Anxiety and irritability are part of the everyday landscape.
Chronic feelings of emptiness: BPs experience chronic feelings of emptiness, which is tied into their lack of identity. A borderline woman says: "I feel empty inside, so I try to keep busy all the time. I throw parties, get into new relationships, smoke, drink, change jobs, or go to a movie. But nothing fills the void." A man says, "My former partner consistently makes comments of feeling empty and worthless, even though she has many people in her life and a very successful business. She received cards in the mail often from friends. But she still felt this pervasive feeling of emptiness and sadness."
Inappropriate anger or difficulty controlling anger. "My ex-wife can be as sweet and kind as a saint one moment, rage the next, and then just as abruptly switch back. I can see the changes coming by watching her eyes," says Mark, the ex-husband of a BP.
Frantic efforts to avoid real or imagined abandonment. This is probably the hallmark of BPD. Because of that fear, people with BPD constantly seek affection and reassurance to combat their lack of self-esteem. For example, they may constantly call or text you just to make sure you are still there and care about them.
A woman with a BPD husband says:
"He would physically block entrances and exits so I couldn't leave. When I was gone he would drink himself silly, not go to work, and call me at all hours of the night telling me how much he missed me and needed me. If I wanted to go out with friends, he wanted to come with so he wouldn't be home by himself. He often had dreams in which we would be at a party and I wouldn't talk to him or acknowledge him. If people didn't return his emails or calls within a very short period of time, he would think they didn't want to be his friend anymore, or they were mad at him, or he had done something wrong to upset them."
The difference between the emotions of people with BPD and everyone else can be summed up as follows:
1) Their emotions are more intense. Brain studies show that the "emotional" centers of the brain actually overpower the "logical" centers. On a scale of 1 to 10, with 10 being high, once the emotions of an individual with BPD are at a six and over you can't really reason with them. They may kick or hit walls, slam doors, punch a car, break household items, and even become physically violent.
2) Their emotions are unpredictable, flipping quickly from one to another. You feel lost and confused as to what just happened. A woman says:
"His mood can change in the blink of an eye. Usually, we could be joking about something, having a really great time and even bonding, and then something I said would trigger something in him and he would get upset, then pissy, then angry, then raging. Sometimes it would take a few days for this to build up. But once it started, I could always tell what was going on. It's like feeling a storm front move in.You can feel the change in the atmosphere."
3) One triggered, they take much longer to come down to baseline (a 1-3 on the scale). At the same time, once the emotion is gone, it's gone, and they don't remember feeling differently. They may not understand why you're still mad at them.
4) Because of their lack of impulse control, they act on their emotions before they've had a chance to think through the consequences of their actions. While their actions are intended to help them feel better, in the long run they feel worse. So emotional dysregulation leads to behavioral dysregulation.
A man explained,
"My girlfriend self-medicated with Xanax. She was bulimic after intense emotional feelings. She would eat a whole pint of ice cream and then say she was emotionally eating. She would drink a lot when she was stressed. She was pretty promiscuous sexually before our relationship and she had been sexual with a few other people while she was with her husband."
5) They can hold a grudge forever about something that happened years ago and continually bring up what hurt them as if it happened yesterday.
Next we'll take a look at the two types of narcissists, vulnerable and invulnerable, and contrast the way they experience emotions with those who have BPD.
One of the reasons why this statue is so famous is because of the difficulty of execution and great aesthetic result, thanks to the technical knowledge of Benvenuto Cellini, its author. Imagine that this statue took almost 10 years to be made!
Perseus is the son of the god Zeus and the human Danae who manages to overcome Medusa, a mythological show with snakes in place of the hair that turned anyone who looked into her eyes into stone.
On the far left, at the top of a pedestal, Perseus holds Medusa's head by the hair and looks down towards the viewer, while with his left hand he wields the curved sword given him by Mercury, his protector.
The difficulty of moss and lichen photography is that it would require a large depth of field, which is unattainable at this magnification. I only closed the aperture to 11 to avoid that the forest behind the moss becomes too defined and distracting.
Annoyed by difficulty to sleep at night for almost 2 weeks, I simply hope to regain my spirit not for aiming at any achievement at work but just sustaining a normal daily life. Illness keeps revisiting and reluctant to go away.
Camera: Hasselblad 503CX
Lens: Hasselblad Carl Zeiss Planar 80mm F2.8 T* /w 21mm extension tube
Film: Fujifilm Provia 100F RDP
Location: Tokyo, Japan
"The difficulty of turning yourselves into a new track is not the obstruction above, but always looking backward to the starting point."
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The main difficulty was getting shots where the background was good.
Explored 19/02/15 - thanks everyone!
For more shots of this bird, go here: somuchtoseeeverywhere.blogspot.co.uk/2015/02/unexpected-v...
Canon EOS 5D mark III, Canon EF 500mm f/4L IS II USM, Canon EF Extender 2x III (handheld).
1000mm, f/8, 1/640, ISO 1250.