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prompt stamping and graffiti. This card is simply a stamp and some spray ink. The small figure just appeared.
Prompt #2 from Janel of "Run with Scissors" Journal prompts
Journal Prompt Number 2: What is the BEST part of your day?
Is it working out?
Is it "quitting time" at work?
Is it dinner with the fam?
What is it?
You can write about it, draw it, sketch it, doodle it, anything you like!
The best part of my day was doing RVA Crafts and going to Dinner with my mom at Red Robin.
Vladimir Semyonovich Vysotsky 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.
PROMPT - DALL-E
A detailed digital drawing of a character inspired by the steampunk style, exuding an otherworldly and intellectual presence. The character should have a complex hairstyle adorned with natural elements, gears, and ephemeral designs. The attire is intricate, featuring ruffled collars and a blend of organic and mechanical details, indicative of a Baroque-meets-steampunk aesthetic. The backdrop includes a subdued collage of abstract scientific diagrams and sketches, offering depth and fascination. The color palette is restrained, with soft sepia and earthy hues, to enhance the vintage and fantasy-inspired atmosphere of the artwork.
Prompt: A soft, atmospheric style with a muted color palette that conveys an ethereal and melancholic tone. Dreamlike lighting, hazy textures, and delicate, painterly brushwork create an otherworldly quality, evoking themes of solitude and quiet magic. Inspired by classical romanticism and fantasy illustration, this style has a haunting yet peaceful presence. --ar 14:11 --sref 454463330
the digital fine art was created using Midjourney AI v 6.1
Prompt: In the artistic style of artist Terence Cuneo, a charming old-fashioned train station with vintage trains and classic architecture, nostalgic and inviting mood, late afternoon, detailed station and trains design graphic --ar 3:4 --v 6.1
digital fine art was created using midjourney AI
Prompt: A cowboy sitting by the fire with his horse. In front of him are some wooden planks, creating a warm atmosphere. This scene captures the style of western movie paintings, surrounded by mountains, there is a beautiful sunset over the mountains. This is a detailed watercolor painting. --ar 14:11 --v 6.1
Today's prompt was to explore just how easy it is to have too much blur or to miss focus shooting wide open.
After chasing my husband around all day demanding he sits while I take photos of him to figure out the intricacies of today's challenge - I think my persistence paid off :)
I focused on his right eye and was hoping there would be a little more blur on his left eye, but I think the subtle blur is there. The left side of his face definitely isn't in as much focus as the left side of his face, and the more I look at this photo, the more I like it.
The largest aperture on my lens is f/3.5. I wonder if it was capable of f/1.4, or f/2.0, perhaps I could've achieved a little more blur to the left side of his face.
[f/3.5, 1/15 sec., ISO 800]
Prompt #7 from Janel of "Run with Scissors" Journal prompts
Journal Prompt 7: Today is an easy one... How are you feeling today? Sometimes it's really good to reflect on your feelings and try to figure out why you are feeling a certain way.
Today was not really a good day.
A blissful art journaling prompt...
"I know this, for sure... "
make it a statement about something I know with certainty - that guides my decisions and shapes my life. An easy one for me - how lucky I am!
Prompt two: I bribed my daughter with fast food to walk with me at ocean's edge this evening. (She needed bribing because it was windy and cold!)
This is a great visual of where I choose to place my presence and what I choose to connect to as I move through each day: Source energy, universal elements, flow, all that is light-filled, the natural and magnificent beauty of earth and unfolding by honoring natural seasons and cycles (with love & gratitude).
Ok so the picture of this is so terrible, but this is what the cardboard closet I made looks like when it's been opened up. The actual print looked 10x better than these pictures for real.
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3. A panoramic view of your closet.
For this prompt I chose to depict multiple panoramic views of what I feel to be my closet. To preface this I'll just explain that when I was about 8 years old my parents decided to move our family from our nice Connecticut town, to the middle of nowhere, Pennsylvania. Needless to say I've resented this move for the last 9 or so years, and it has taken me a while to come to terms with it. This is partially because I've just been really stubborn about it, and also because I feel so much more attached to Connecticut. It was kind of like the home that I'd spent my entire life up until that point accepting, was torn from me. Pennsylvania just isn't me, and for a multitude of other reasons I've hated it here. So for me I feel that Pennsylvania, and where I live, is a closed and defined space, making it my closet. I've specifically made this fold out closet to reference a moving box, which is also why I chose to draw the closet doors in black marker. One door is colored, which is to represent my depiction of reality initially during this move, compared to my reality of it now. Specifically, the right door is colored, because the realtor of our house gave my brother and I gifts for our trip to Pennsylvania, and she gave me a sketch pad that I drew in all the way on the drive from Connecticut to Pennsylvania. I remember that I used to draw on the moving boxes to kind of idealize our move in my own way. However now when I look at these same boxes all I see are the same sharpied-on instructions of which room they belong to, and no longer a blank canvas. This is to give an alternate panoramic view, as in how the events are visualized mentally. The picture inside is of my back yard, and I specifically made it to show the view of my back yard that I see from my bedroom window. It is also cropped to a cinematic aspect ratio, to depict how I view life cinematically, and also to present a truly unbroken view of my closet. I have excluded and fabricated nothing; this is a raw vision of my yard, and me. I'm specifically not even wearing contact lenses, because I want to make this as true and unbroken as possible. A closet is typically a place where our impediments are hidden, and because of this I felt that nothing of this view should be fabricated or left out, which made this view feel very cinematic to me. So as a whole this represents an accurate panoramic view of my closet on multiple levels.
I wasn't expecting a framed photo of Marcel Duchamp!!
Artwork created by Midjourney from a sequence of text.
For the 30 day assignment ive chosen 30 lyricless songs to illustrate some sort of landscape or scene for based on its vibes. i mostly do figures so this will be a challenge. if i need a break i'll also do some prompts from the other list i made as well. yeehaw
Highlight your name many times in the midst of your design.
I chose to use a lot of line design because I love it so much lately.
I also chose to draw some of the things that I like as well in there!!
Have fun, be creative, don't stress, just jump right in!!
The point, for me, was to cover every possible white space with pen.
Prompt in DALL-E
Enhance the image of a historical book titled "Old Paris - The Seine". The book is open with elaborate and intricate 3D images springing out from the pages, vividly depicting scenes of the Seine in old Paris, with rich details and textures. The emerging images are surrounded by a denser mist, contributing to a mysterious and enchanting atmosphere. The background is dark and moody, contrasting with the bright, lifelike 3D illustrations. The ultra-realistic overall composition is replete with fine details that offer an immersive glimpse into the historical life by the Seine.
Today's prompt for my 365 is "seize the moment" so I did just that! I shouted "cheese" and caught everyone!
Burns Court in downtown Sarasota has the most wonderful wall art, cool boutiques and restaurants - we love it, there's that old quaint hippie touch about the environment.
Capture Your 365 .....
Thanks, in advance, to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... thanks to you all.
Today's prompt was dream vacation. Niña isn't sure where she'd like to go, maybe somewhere she can use her Spanish. She thought she would visit the souvenir dolls and get some ideas.
I see a few from Spanish speaking countries. Do you spot any?
Prompt: A winter landscape with a covered bridge in the foreground, covered in snow, Christmas decorations, surrounded by snow-covered trees and a river flowing beneath it. The bridge is a wooden structure with a gabled snow covered roof and is framed by a wooden fence. In the background, there are hills. White house in the background, the golden hour. The scene is calm and peaceful, with a sense of quiet beauty. The colors are muted and cool, with shades of white, blue, and brown. The style is realistic and detailed, with a focus on capturing the natural beauty of the winter scene. --ar 4:3 --v 6.1
Todays' 365 prompt is "the number 5" such as ""on the wall", "on a di" or ""discovered" although I didn't catch to much of the prompts I did catch the number 5 on a child's playing card!
Capture Your 365 ....
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Caernarfon is a royal town, community and port in Gwynedd, Wales. It has a population of 9,852 (with Caeathro). It lies along the A487 road, on the eastern shore of the Menai Strait, opposite the island of Anglesey. The city of Bangor is 8.6 miles (13.8 km) to the north-east, while Snowdonia (Eryri) fringes Caernarfon to the east and south-east.
Abundant natural resources in and around the Menai Strait enabled human habitation in prehistoric Britain. The Ordovices, a Celtic tribe, lived in the region during the period known as Roman Britain. The Roman fort Segontium was established around AD 80 to subjugate the Ordovices during the Roman conquest of Britain. The Romans occupied the region until the end of Roman rule in Britain in 382, after which Caernarfon became part of the Kingdom of Gwynedd. In the late 11th century, William the Conqueror ordered the construction of a motte-and-bailey castle at Caernarfon as part of the Norman invasion of Wales. He was unsuccessful, and Wales remained independent until around 1283.
In the 13th century, Llywelyn ap Gruffudd, ruler of Gwynedd, refused to pay homage to Edward I of England, prompting the English conquest of Gwynedd. This was followed by the construction of Caernarfon Castle, one of the largest and most imposing fortifications built by the English in Wales. In 1284, the English-style county of Caernarfonshire was established by the Statute of Rhuddlan; the same year, Caernarfon was made a borough, a county and market town, and the seat of English government in north Wales.
The ascent of the House of Tudor to the throne of England eased hostilities with the English and resulted in Caernarfon Castle falling into a state of disrepair. The town has flourished,[when?] leading to its status as a major tourist centre and seat of Gwynedd Council, with a thriving harbour and marina. Caernarfon has expanded beyond its medieval walls and experienced heavy suburbanisation. The community of Caernarfon's population includes the highest percentage of Welsh-speaking citizens anywhere in Wales. The status of Royal Borough was granted by Queen Elizabeth II in 1963 and amended to Royal Town in 1974. The castle and town walls are part of a World Heritage Site described as the Castles and Town Walls of King Edward in Gwynedd.
The town's name consists of three elements: caer , yn, and arfon. "Caer' means 'fortress", in this case either the Roman fort of Segontium, which lies on the outskirts of the modern town, or the Norman castle erected near the mouth of the Afon Seiont. "Arfon" means "opposite Môn (Anglesey)", and the full name therefore means "the fortress in the land opposite Anglesey".
The earlier British and Romano-British settlement at Segontium was named Cair Segeint ("Fort Seiont") after the river. It was also known as Cair Custoient ("Fortress of Constantine"), after a belief that it was the capital of Gwynedd under Constantine, a supposed son of Saint Elen and the Emperor Magnus Maximus. Both names appear in the Historia Brittonum traditionally ascribed to Nennius. A medieval romance about Maximus and Elen, Macsen's Dream, calls her home Caer Aber Sein ("Fort Seiontmouth" or "the fortress at the mouth of the Seiont") and other pre-conquest poets such as Hywel ab Owain Gwynedd used the name Caer Gystennin. A 1221 charter by Llywelyn the Great to the canons of Penmon priory on Anglesey mentions Kaerinarfon, and the Welsh chronicle Brut y Tywysogion mentions both Kaerenarvon and Caerenarvon.
The town and the county named after it were officially spelled "Carnarvon" until 1926. At a meeting on 10 November 1925 the borough council resolved to ask the county council to change the spelling to "Caernarvon". The county council gave permission for the change of spelling for the name of the borough with effect from 14 January 1926, and at the same time decided to ask the government to also change the spelling of the county's name to Caernarvon. The government confirmed the change in the spelling of the county's name with effect from 1 July 1926.
The municipal borough was designated a royal borough in 1963. When the borough was abolished in 1974 the status of "royal town" was granted to the new community which succeeded it. The spelling of both borough and county remained "Caernarvon" until they were abolished in 1974. The spelling of the community's name was changed from "Caernarvon" to "Caernarfon" with effect from 2 June 1975 by order of Arfon Borough Council.
Caernarfon contains a Roman fort, Segontium, and a Norman motte-and-bailey castle was built at the mouth of the River Seiont.
In 1283, King Edward I completed his conquest of Wales which he secured by a chain of castles and walled towns. The construction of a new stone Caernarfon Castle seems to have started as soon as the campaign had finished. Edward's architect, James of St. George, may well have modelled the castle on the walls of Constantinople, possibly being aware of the town's legendary associations. Edward's fourth son, Edward of Caernarfon, later Edward II of England, was born at the castle in April 1284 and made Prince of Wales in 1301. A story recorded in the 16th century suggests that the new prince was offered to the native Welsh on the premise "that [he] was borne in Wales and could speake never a word of English", however, there is no contemporary evidence to support this.
Caernarfon was constituted a borough in 1284 by a charter of Edward I. The charter, which was confirmed on a number of occasions, appointed the mayor of the borough Constable of the Castle ex officio.
On 2 November 1401, 'Y Ddraig Aur' (The golden dragon) of Owain Glyndŵr was attested to have been flown during the Battle of Tuthill at Caernarfon, it is also likely that it was also flown throughout the Welsh independence campaign.
In 1911, David Lloyd George, then Member of Parliament (MP) for Caernarfon boroughs, which included various towns from Llŷn to Conwy, agreed to the British Royal Family's idea of holding the investiture of the Prince of Wales at Caernarfon Castle. The ceremony took place on 13 July, with the royal family visiting Wales, and the future Edward VIII was duly invested.
In 1955, Caernarfon was in the running for the title of Capital of Wales on historical grounds but the town's campaign was heavily defeated in a ballot of Welsh local authorities, with 11 votes compared to Cardiff's 136. Cardiff therefore became the Welsh capital.
On 1 July 1969, the investiture ceremony for Charles, Prince of Wales was again held at Caernarfon Castle. The ceremony went ahead without incident despite terrorist threats and protests, which culminated in the death of two members of Mudiad Amddiffyn Cymru (Welsh Defence Movement), Alwyn Jones and George Taylor, who were killed when their bomb – intended for the railway line at Abergele in order to stop the British Royal Train – exploded prematurely. The bombing campaign (one in Abergele, two in Caernarfon and finally one on Llandudno Pier) was organised by the movement's leader, John Jenkins. He was later arrested after a tip-off and was sentenced to ten years imprisonment.
In July 2019, Caernarfon hosted a rally for Welsh independence. The event, organised by AUOB (All Under One Banner) Cymru, included a march through the town centre. Organisers estimated that roughly 8,000 people joined the march on the town square; local authorities confirmed at least 5,000 attendees. The event featured a number of speakers including Hardeep Singh Kohli, Evra Rose, Dafydd Iwan, Lleuwen Steffan, Siôn Jobbins, Beth Angell, Gwion Hallam, Meleri Davies and Elfed Wyn Jones. Talks covered criticism of Brexit and Westminster with advocating Welsh Independence.
The history of Caernarfon, as an example where the rise and fall of different civilizations can be seen from one hilltop, is discussed in John Michael Greer's book The Long Descent. He writes of Caernarfon:
Spread out below us in an unexpected glory of sunlight was the whole recorded history of that little corner of the world. The ground beneath us still rippled with earthworks from the Celtic hill fort that guarded the Menai Strait more than two and a half millennia ago. The Roman fort that replaced it was now the dim brown mark of an old archaeological site on low hills off to the left. Edward I’s great grey castle rose up in the middle foreground, and the high contrails of RAF jets on a training exercise out over the Irish Sea showed that the town’s current overlords still maintained the old watch. Houses and shops from more than half a dozen centuries spread eastward as they rose through the waters of time, from the cramped medieval buildings of the old castle town straight ahead to the gaudy sign and sprawling parking lot of the supermarket back behind us.
Caernarfon is situated on the southern bank of the Menai Strait facing the Isle of Anglesey. It is situated 8.6 miles (13.8 km) south-west of Bangor, 19.4 miles (31.2 km) north of Porthmadog and approximately 8.0 miles (12.9 km) west of Llanberis and Snowdonia National Park. The mouth of the River Seiont is in the town, creating a natural harbour where it flows into the Menai Strait. Caernarfon Castle stands at the mouth of the river. The A487 passes directly through Caernarfon, with Bangor to the north and Porthmadog to the south.
As the crow flies, the summit of Snowdon lies a little over 9.6 miles (15.4 km) to the southeast of the town centre.
Caernarfon's historical prominence and landmarks have made it a major tourist centre. As a result, many of the local businesses cater for the tourist trade. Caernarfon has numerous guest houses, inns and pubs, hotels, restaurants and shops. The majority of shops in the town are located either in the centre of town around Pool Street and Castle Square (Y Maes), on Doc Fictoria (Victoria Dock) or in Cei Llechi (Slate Quay). A number of shops are also located within the Town Walls.
The majority of the retail and residential section of Doc Fictoria was opened in 2008. The retail and residential section of Doc Fictoria is built directly beside a Blue Flag beach marina. It contains numerous homes, bars and bistros, cafés and restaurants, an award-winning arts centre, a maritime museum and a range of shops and stores.
Pool Street and Castle Square contain a number of large, national retail shops and smaller independent stores. Pool Street is pedestrianised and serves as the town's main shopping street. Castle Square, commonly referred to as the 'Maes' by both Welsh and English speakers, is the market square of the town. A market is held every Saturday throughout the year and also on Mondays in the summer. The square was revamped at a cost of £2.4 million in 2009. However, since its revamp the square has caused controversy due to traffic and parking difficulties. During the revamp, it was decided to remove barriers between traffic and pedestrians creating a 'shared space', to force drivers to be more considerate of pedestrians and other vehicles. This is the first use of this kind of arrangement in Wales, but it has been described by councillor Bob Anderson as being 'too ambiguous' for road users. Another controversy caused by the revamp of the Maes was that a historic old oak tree was taken down from outside the HSBC bank. When the Maes was re-opened in July 2009 by the local politician and Heritage Minister of Wales, Alun Ffred Jones AM, he said, "the use of beautiful local slate is very prominent in the new Maes."
There are many old public houses serving the town, including The Four Alls, The Anglesey Arms Hotel, The Castle Hotel, The Crown, Morgan Lloyd, Pen Deitch and The Twthill Vaults. The oldest public house in Caernarfon is the Black Boy Inn, which remained in the same family for over 40 years until sold in 2003 to a local independent family business. The pub has stood inside Caernarfon's Town Walls since the 16th century, and many people claim to have seen ghosts within the building.
In and around the Town Walls are numerous restaurants, public houses and inns, and guest houses and hostels.
Gwynedd Council's head offices are situated in the town. The Caernarfon parliamentary constituency was a former electoral area centred on Caernarfon. Caernarfon is now part of the Arfon constituency for both the UK Parliament and the Senedd. The town is twinned with Landerneau in Brittany. Caernarfon was the county town of the historic county of Caernarfonshire.
At the local level, Caernarfon Royal Town Council consists of 17 town councillors, elected from the wards of Cadnant (3), Canol Tref Caernarfon (3), Hendre (3), Menai (4) and Peblig (4). The current Mayor is Councillor Maria Veronica Sarnacki.
The population in 1841 was 8,001.
The population of Caernarfon Community Parish in 2001 was 9,611. Caernarfon residents are known colloquially as "Cofis". The word "Cofi" /ˈkɒvi/ is also used locally in Caernarfon to describe the local Welsh dialect, notable for a number of words, not in use elsewhere.
Within Wales, Gwynedd has the highest proportion of speakers of the Welsh language. The greatest concentration of Welsh speakers in Gwynedd is found in and around Caernarfon.
According to the 2011 census, 85.8% of residents were born in Wales, one of the highest proportions in Gwynedd, and 77.0% reported a 'Welsh only' national identity.
The present castle building was constructed between 1283 and 1330 by the order of King Edward I. The banded stonework and polygonal towers are thought to have been in imitation of the Walls of Constantinople. The impressive curtain wall with nine towers and two gatehouses survive largely intact. Caernarfon Castle is now under the care of Cadw and is open to the public. The castle includes the regimental museum of the Royal Welch Fusiliers.
The medieval town walls, including eight towers and two twin-towered gateways, form a complete circuit of 800 yards (730 m) around the old town and were built between 1283 and 1285. The walls are in the care of Cadw but only a small section is accessible to the public. The town walls and castle at Caernarfon were declared part of a World Heritage Site in 1986. According to UNESCO, the castle and walls together with other royal castles in Gwynedd "are the finest examples of late 13th century and early 14th century military architecture in Europe".
Dedicated to Saint Peblig, the son of Saint Elen and Macsen Wledig (Magnus Maximus), the church is built on an important early Christian site, itself built on a Roman Mithraeum or temple of Mithras, close to the Segontium Roman Fort (200m away, in the care of Cadw). A Roman altar was found in one of the walls during 19th-century restoration work. The present church dates mainly from the 14th century and is a Grade I listed building.
The statue in Castle Square was sculpted by W. Goscombe John and was erected in 1921 when Lloyd George was Prime Minister. David Lloyd George was the Member of Parliament for the area from 1890 to 1945.
The Old Market Hall in Hole-in-the-Wall Street and Crown Street was built in 1832, but the interior and roof were rebuilt later in that century. It is a Grade II listed building. It now acts as a pub and music venue.
A small Victorian urban park, Morfa was laid out in 1888. It stands to the south of the town, bordered by the 'Ysbyty Eryri' hospital [see below] at its southern edge. It is listed at Grade II on the Cadw/ICOMOS Register of Parks and Gardens of Special Historic Interest in Wales.
The old County Hall, which went on to become a courthouse, is situated inside the castle walls, next door to the Anglesey Arms Hotel. The old courthouse was built in the Neo-classical style. The courthouse was replaced by the new Caernarfon Criminal Justice Centre on the former Segontium School site in Llanberis Road in 2009. The old courthouse adjoins what used to be Caernarfon Gaol, which has been closed since the early 20th century and was subsequently converted into council offices.
There is a small hospital in the town, 'Ysbyty Eryri' (i.e. "Snowdonia Hospital"). The nearest large regional hospital is Ysbyty Gwynedd, in Bangor.
Caernarfon Barracks was commissioned by John Lloyd, County Surveyor of Caernarfonshire, as a military headquarters and completed in 1855.
Caernarfon was at one time an important port, exporting slate from the Dyffryn Nantlle quarries. This traffic was facilitated from 1828 by the Nantlle Railway which predated far more widely known ventures such as the Liverpool and Manchester Railway and the Ffestiniog Railway.
Five passenger stations have served the town. Caernarvon railway station opened in 1852 as the western terminus of the Bangor and Carnarvon Railway. This connected the town with the North Wales coast and the expanding national network. Carnarvon Castle railway station opened in 1856 as the northern passenger terminus of the 3ft 6in narrow gauge Nantlle Railway. This service ended in 1865 when the line being built from the south by the standard gauge Carnarvonshire Railway took over most of its trackbed. The Carnarvonshire Railway's temporary northern terminus was at Pant to the south of the town. Pant station opened in 1867. At the same time, the Carnarvon and Llanberis Railway built its line from Llanberis to Caernarfon. Its temporary western terminus was called Carnarvon (Morfa). It opened in 1869 near the modern road bridges over the Afon Seiont. For a short period, therefore, Caernarfon had three terminating stations on its edges. Records are contradictory, but this ended in either 1870 or 1871 when they were connected by a line through the town using the tunnel which survives, having been converted in 1995 for road traffic. When the through route was opened Pant and Morfa stations closed and the original station became the town's only station. The London and North Western Railway also took over all the lines mentioned leaving one station and one service provider by 1871.
The services to Llanberis and south to Afon Wen closed progressively from the 1930s, with tracks being lifted in the mid-1960s, but Caernarvon station survived until 1970, with Bangor to Caernarvon one of the last passenger services to be closed under the Beeching Axe; it is now the site of a Morrisons supermarket. In November 2020 the Welsh Government stated 'further consideration' should be given to reopening the line. The fifth station was opened in 1997 on the old trackbed in St. Helen's Road. It is the northern terminus of the 2ft narrow gauge Rheilffordd Eryri / Welsh Highland Railway. Work began on a permanent station for the town in February 2017. The new station opened to passengers in the Spring of 2019. Heritage steam services provide links to Porthmadog, where passengers can change for services on the Ffestiniog Railway to Blaenau Ffestiniog.
Bus services in the town are provided by Arriva Buses Wales, and a number of smaller, local operators. Longer distance, cross-country services are operated by Lloyds Coaches, and connect the town with Bangor to the north, and Aberystwyth via Porthmadog, Dolgellau and Machynlleth to the south. These services are part of the Welsh Government funded TrawsCymru network.
The A487 trunk road bisects the town, providing access to major urban areas along the North Wales coast and the Port of Holyhead, via the A55 expressway. Llanberis at the foot of Snowdon can be reached via the A4086, which heads east out of the town towards Capel Curig.
Heading north out of the town is the Lôn Las Menai cycle path to nearby Y Felinheli. Heading south out of the town is the Lôn Eifion cycle path, which leads to Bryncir, near Criccieth. The route provides views into the Snowdonia mountains, down along the Llŷn Peninsula and across to the Isle of Anglesey.
Caernarfon Airport is 4.5 miles (7.2 km) to the southwest, and offers pleasure flights and an aviation museum.
The Aber Swing Bridge is a pedestrian swing bridge that crosses over the Afon Seiont to connect pedestrians from the foreshore to the Watergate entrance in the centre of Caernarfon by the Caernarfon Castle.
There are four primary schools in Caernarfon, Ysgol yr Hendre being the largest. The others are Ysgol y Gelli, Ysgol Santes Helen and Ysgol Maesincla. Ysgol Syr Hugh Owen is the single secondary school serving Caernarfon and the surrounding areas and currently has between 900 and 1000 pupils from ages 11 to 18. Ysgol Pendalar is a school for children with special needs. Coleg Menai is a further education college for adult learners.
Notable people
Lewis Jones, 1898
Saint Elen, late 4th-century founder of churches in Wales.
Edward II of England (1284–1327), King of England from 1307 to 1327.
Morris Williams (1809–1874), clergyman and writer, known by his bardic name Nicander
William Henry Preece (1834–1913), an electrical engineer and inventor.
Lewis Jones (1837-1904), one of the founders of the Welsh settlement in Patagonia.
David Lloyd George (1863–1945), Prime Minister of the UK from 1916 to 1922.
Gwilym Edwards (1881–1963), Presbyterian minister, writer and academic
Lionel Rees (1884–1955), aviator, flying ace and recipient of the Victoria Cross
Maureen Peters (1935–2008), an historical novelist
Dafydd Wigley (born 1943), politician, MP for Caernarfon from 1974 until 2001
Sian Eleri, BBC Radio 1 presenter
Sport
Bryan Orritt (1937–2014), a professional footballer with over 370 club caps
Barry Hughes (1937–2019), a professional footballer and manager, active primarily in the Netherlands
Wyn Davies (born 1942), a footballer with 611 club caps and 34 for Wales
Tom Walley (born 1945) footballer with over 410 club caps
Catrin Thomas (born 1964), ski mountaineer and mountain climber.
Waynne Phillips (born 1970), a professional footballer with over 470 club caps
Nathan Craig (born 1991), a professional footballer.
Osian Dwyfor Jones Wales Commonwealth Hammer Thrower
Caernarfon Town F.C. (Welsh: Clwb Pêl Droed Tref Caernarfon) is a Welsh football club based in the town, which currently plays in the Cymru Premier, the top level for football in Wales. The club is nicknamed "the Canaries" because of its yellow and green strip. Caernarfon Town plays at The Oval which has a capacity of 3000 people and 250 seated people.
Caernarfon hosted the National Eisteddfod in 1862, 1894, 1906, 1921, 1935, 1959 and 1979. Unofficial National Eisteddfod events were also held there in 1877 and 1880. Caernarfon also hosted the 30th annual Celtic Media Festival in March 2009. Cultural destinations include Galeri and Oriel Pendeitsh. Galeri is a creative enterprise centre that houses a gallery, a concert hall, a cinema, a number of companies, and a range of other creative and cultural spaces. Oriel Pendeitsh is a ground-floor exhibition space adjoining the Tourist Information Centre opposite Caernarfon Castle. The gallery has a varied and changing programme of exhibitions throughout the year.
The Caernarfon Food Festival takes place in the town's streets including The Slate Quay (Cei Llechi) and Castle Square (the Maes), which is pedestrianised for the event. Stalls are also located along the promenade next to the Menai Strait towards the marina and Doc Fictoria.
The festival was formed in 2015 as a result of public consultation within the town. The first festival was held in 2016. It is organised by the Caernarfon Food Festival Group which is made up of local volunteers who hold regular meetings to plan each festival. The festival has a number of support groups, including a content group, sponsorship group, technical group, communication group and volunteer group. These groups feed into the main group's monthly meetings. The festival logo was inspired by contributions from pupils at Ysgol Syr Hugh Owen and designed by Iestyn Lloyd of Cwmni Da. The festival has been supported by Welsh Government through the Food Festival Grant Scheme and was highly commended by Food Awards Wales in 2019, Car parking is provided at the Slate Quay (Cei Llechi) and at other car parks around the town while the Welsh Highland Railway provides transport from Porthmadog. Cycle access is by the cycle tracks along the disused railway lines which include Lôn Las Eifion, which runs from Porthmadog, by-passing Penygroes and on to Caernarfon, Lôn Las Menai from Y Felinheli to Caernarfon and Lôn Las Peris from Llanberis to Caernarfon.
Gwynedd is a county in the north-west of Wales. It borders Anglesey across the Menai Strait to the north, Conwy, Denbighshire, and Powys to the east, Ceredigion over the Dyfi estuary to the south, and the Irish Sea to the west. The city of Bangor is the largest settlement, and the administrative centre is Caernarfon. The preserved county of Gwynedd, which is used for ceremonial purposes, includes the Isle of Anglesey.
Gwynedd is the second largest county in Wales but sparsely populated, with an area of 979 square miles (2,540 km2) and a population of 117,400. After Bangor (18,322), the largest settlements are Caernarfon (9,852), Bethesda (4,735), and Pwllheli (4,076). The county has the highest percentage of Welsh speakers in Wales, at 64.4%, and is considered a heartland of the language.
The geography of Gwynedd is mountainous, with a long coastline to the west. Much of the county is covered by Snowdonia National Park (Eryri), which contains Wales's highest mountain, Snowdon (Yr Wyddfa; 3,560 feet, 1,090 m). To the west, the Llŷn Peninsula is flatter and renowned for its scenic coastline, part of which is protected by the Llŷn AONB. Gwynedd also contains several of Wales's largest lakes and reservoirs, including the largest, Bala Lake (Llyn Tegid).
The area which is now the county has played a prominent part in the history of Wales. It formed part of the core of the Kingdom of Gwynedd and the native Principality of Wales, which under the House of Aberffraw remained independent from the Kingdom of England until Edward I's conquest between 1277 and 1283. Edward built the castles at Caernarfon and Harlech, which form part of the Castles and Town Walls of King Edward in Gwynedd World Heritage Site. During the Industrial Revolution the slate industry rapidly developed; in the late nineteenth century the neighbouring Penrhyn and Dinorwic quarries were the largest in the world, and the Slate Landscape of Northwest Wales is now a World Heritage Site. Gwynedd covers the majority of the historic counties of Caernarfonshire and Merionethshire.
In the past, historians such as J. E. Lloyd assumed that the Celtic source of the word Gwynedd meant 'collection of tribes' – the same root as the Irish fine, meaning 'tribe'. Further, a connection is recognised between the name and the Irish Féni, an early ethnonym for the Irish themselves, related to fían, 'company of hunting and fighting men, company of warriors under a leader'. Perhaps *u̯en-, u̯enə ('strive, hope, wish') is the Indo-European stem. The Irish settled in NW Wales, and in Dyfed, at the end of the Roman era. Venedotia was the Latin form, and in Penmachno there is a memorial stone from c. AD 500 which reads: Cantiori Hic Iacit Venedotis ('Here lies Cantiorix, citizen of Gwynedd'). The name was retained by the Brythons when the kingdom of Gwynedd was formed in the 5th century, and it remained until the invasion of Edward I. This historical name was revived when the new county was formed in 1974.
Gwynedd was an independent kingdom from the end of the Roman period until the 13th century, when it was conquered by England. The modern Gwynedd was one of eight Welsh counties created on 1 April 1974 under the Local Government Act 1972. It covered the entirety of the historic counties of Anglesey and Caernarfonshire, and all of Merionethshire apart from Edeirnion Rural District (which went to Clwyd); and also a few parishes of Denbighshire: Llanrwst, Llansanffraid Glan Conwy, Eglwysbach, Llanddoged, Llanrwst and Tir Ifan.
The county was divided into five districts: Aberconwy, Arfon, Dwyfor, Meirionnydd and Anglesey.
The Local Government (Wales) Act 1994 abolished the 1974 county (and the five districts) on 1 April 1996, and its area was divided: the Isle of Anglesey became an independent unitary authority, and Aberconwy (which included the former Denbighshire parishes) passed to the new Conwy County Borough. The remainder of the county was constituted as a principal area, with the name Caernarfonshire and Merionethshire, as it covers most of the areas of those two historic counties. As one of its first actions, the Council renamed itself Gwynedd on 2 April 1996. The present Gwynedd local government area is governed by Gwynedd Council. As a unitary authority, the modern entity no longer has any districts, but Arfon, Dwyfor and Meirionnydd remain as area committees.
The pre-1996 boundaries were retained as a preserved county for a few purposes such as the Lieutenancy. In 2003, the boundary with Clwyd was adjusted to match the modern local government boundary, so that the preserved county now covers the two local government areas of Gwynedd and Anglesey. Conwy county borough is now entirely within Clwyd.
A Gwynedd Constabulary was formed in 1950 by the merger of the Anglesey, Caernarfonshire and Merionethshire forces. A further amalgamation took place in the 1960s when Gwynedd Constabulary was merged with the Flintshire and Denbighshire county forces, retaining the name Gwynedd. In one proposal for local government reform in Wales, Gwynedd had been proposed as a name for a local authority covering all of north Wales, but the scheme as enacted divided this area between Gwynedd and Clwyd. To prevent confusion, the Gwynedd Constabulary was therefore renamed the North Wales Police.
The Snowdonia National Park was formed in 1951. After the 1974 local authority reorganisation, the park fell entirely within the boundaries of Gwynedd, and was run as a department of Gwynedd County Council. After the 1996 local government reorganisation, part of the park fell under Conwy County Borough, and the park's administration separated from the Gwynedd council. Gwynedd Council still appoints nine of the eighteen members of the Snowdonia National Park Authority; Conwy County Borough Council appoints three; and the Welsh Government appoints the remaining six.
There has been considerable inwards migration to Gwynedd, particularly from England. According to the 2021 census, 66.6% of residents had been born in Wales whilst 27.1% were born in England.
The county has a mixed economy. An important part of the economy is based on tourism: many visitors are attracted by the many beaches and the mountains. A significant part of the county lies within the Snowdonia National Park, which extends from the north coast down to the district of Meirionnydd in the south. But tourism provides seasonal employment and thus there is a shortage of jobs in the winter.
Agriculture is less important than in the past, especially in terms of the number of people who earn their living on the land, but it remains an important element of the economy.
The most important of the traditional industries is the slate industry, but these days only a small percentage of workers earn their living in the slate quarries.
Industries which have developed more recently include TV and sound studios: the record company Sain has its HQ in the county.
The education sector is also very important for the local economy, including Bangor University and Further Education colleges, Coleg Meirion-Dwyfor and Coleg Menai, both now part of Grŵp Llandrillo Menai.
The proportion of respondents in the 2011 census who said they could speak Welsh.
Gwynedd has the highest proportion of people in Wales who can speak Welsh. According to the 2021 census, 64.4% of the population aged three and over stated that they could speak Welsh,[7] while 64.4% noted that they could speak Welsh in the 2011 census.
It is estimated that 83% of the county's Welsh-speakers are fluent, the highest percentage of all counties in Wales.[9] The age group with the highest proportion of Welsh speakers in Gwynedd were those between ages 5–15, of whom 92.3% stated that they could speak Welsh in 2011.
The proportion of Welsh speakers in Gwynedd declined between 1991 and 2001,[10] from 72.1% to 68.7%, even though the proportion of Welsh speakers in Wales as a whole increased during that decade to 20.5%.
The Annual Population Survey estimated that as of March 2023, 77.0% of those in Gwynedd aged three years and above could speak Welsh.
Notable people
Leslie Bonnet (1902–1985), RAF officer, writer; originated the Welsh Harlequin duck in Criccieth
Sir Dave Brailsford (born 1964), cycling coach; grew up in Deiniolen, near Caernarfon
Duffy (born 1984), singer, songwriter and actress; born in Bangor, Gwynedd
Edward II of England (1284–1327), born in Caernarfon Castle
Elin Fflur (born 1984), singer-songwriter, TV and radio presenter; went to Bangor University
Bryn Fôn (born 1954), actor and singer-songwriter; born in Llanllyfni, Caernarfonshire.
Wayne Hennessey (born 1987), football goalkeeper with 108 caps for Wales; born in Bangor, Gwynedd
John Jones (c. 1530 – 1598), a Franciscan friar, Roman Catholic priest and martyr; born at Clynnog
Sir Love Jones-Parry, 1st Baronet (1832–1891), landowner and politician, co-founder of the Y Wladfa settlement in Patagonia
T. E. Lawrence (1888–1935), archaeologist, army officer and inspiration for Lawrence of Arabia, born in Tremadog
David Lloyd George (1863–1945), statesman and Prime Minister; lived in Llanystumdwy from infancy
Sasha (born 1969), disc jockey, born in Bangor, Gwynedd
Sir Bryn Terfel (born 1965), bass-baritone opera and concert singer from Pant Glas
Sir Clough Williams-Ellis (1883–1978), architect of Portmeirion
Owain Fôn Williams, (born 1987), footballer with 443 club caps; born and raised in Penygroes, Gwynedd.
Hedd Wyn (1887–1917), poet from the village of Trawsfynydd; killed in WWI
Prompt #19 - Give More Hugs. - Drawn on 8.5 x 11 white card stock, using Micron .01 & .005 pens; colored with various colored ink pens. Thanks for viewing. If you choose to comment, it will be appreciated.
Vordergrund: Schlepper Prompt, Bugsier 21 und ZP Boxer; Hintergrund: Containerschiffe Rio Bravo und CMA CGM Strauss
Foreground: tugboats Prompt, Bugsier 21 and ZP Boxer; Background: Container vessels Rio Bravo and CMA CGM Strauss
3. A panoramic view of your closet.
For this prompt I chose to depict multiple panoramic views of what I feel to be my closet. To preface this I'll just explain that when I was about 8 years old my parents decided to move our family from our nice Connecticut town, to the middle of nowhere, Pennsylvania. Needless to say I've resented this move for the last 9 or so years, and it has taken me a while to come to terms with it. This is partially because I've just been really stubborn about it, and also because I feel so much more attached to Connecticut. It was kind of like the home that I'd spent my entire life up until that point accepting, was torn from me. Pennsylvania just isn't me, and for a multitude of other reasons I've hated it here. So for me I feel that Pennsylvania, and where I live, is a closed and defined space, making it my closet. I've specifically made this fold out closet to reference a moving box, which is also why I chose to draw the closet doors in black marker. One door is colored, which is to represent my depiction of reality initially during this move, compared to my reality of it now. Specifically, the right door is colored, because the realtor of our house gave my brother and I gifts for our trip to Pennsylvania, and she gave me a sketch pad that I drew in all the way on the drive from Connecticut to Pennsylvania. I remember that I used to draw on the moving boxes to kind of idealize our move in my own way. However now when I look at these same boxes all I see are the same sharpied-on instructions of which room they belong to, and no longer a blank canvas. This is to give an alternate panoramic view, as in how the events are visualized mentally. The picture inside is of my back yard, and I specifically made it to show the view of my back yard that I see from my bedroom window. It is also cropped to a cinematic aspect ratio, to depict how I view life cinematically, and also to present a truly unbroken view of my closet. I have excluded and fabricated nothing; this is a raw vision of my yard, and me. I'm specifically not even wearing contact lenses, because I want to make this as true and unbroken as possible. A closet is typically a place where our impediments are hidden, and because of this I felt that nothing of this view should be fabricated or left out, which made this view feel very cinematic to me. So as a whole this represents an accurate panoramic view of my closet on multiple levels.