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Passiflora incarnata, commonly known as maypop, purple passionflower, true passionflower, wild apricot, and wild passion vine, is a fast-growing perennial vine with climbing or trailing stems. A member of the passionflower genus Passiflora, the maypop has large, intricate flowers with prominent styles and stamens. One of the hardiest species of passionflower, it is both found as a wildflower in the southern United States and in cultivation for its fruit and striking bluish purple blooms.
Description
Passiflora incarnata
The stems can be smooth or pubescent; they are long and trailing, possessing many tendrils. Leaves are alternate and palmately 3-lobed and occasionally 5-lobed, measuring 6–15 centimetres (2.4–5.9 in). They have two characteristic glands at the base of the blade on the petiole that secrete drops of sweet nectar. Flowers have five bluish-white petals. They exhibit a white and purple corona, a structure of fine appendages between the petals and stamens. The large flower is typically arranged in a ring above the petals and sepals. They are pollinated by insects such as bumblebees and carpenter bees, and are self-sterile. The flower normally begins to bloom in July.
The fleshy fruit, also referred to as a maypop, is an oval yellowish berry about the size of a hen egg; it is green, though it may become yellow-green to yellow-orange as it matures. Like other passifloras, the pulp is gelatinous and encases the seeds. The color of the pulp is originally white and becomes a dull yellow when ripe. The seeds are black and approximately 5 mm in size. As with other passifloras, it is the larval food of a number of lepidoptera species, including the zebra longwing, the Gulf fritillary, the crimson-patched longwing, the Julia, the Plebeian sphinx, and the variegated fritillary. In many cases its fruit is very popular with wildlife. The egg-shaped green fruits 'may pop' when stepped on. This phenomenon gives the P. incarnata its common name, as well as the fact that its roots can remain dormant for most of the winter underground and then the rest of the plant "pops" out of the ground by May, unharmed by the snow.
The maypop occurs in thickets, disturbed areas, near riverbanks, and near unmowed pastures, roadsides, and railroads. It thrives in areas with plentiful sunlight. It is not found in shady areas beneath a forest canopy.[citation needed]
The Cherokee in the Tennessee area called it ocoee; the Ocoee River and valley are named after this plant, which is the Tennessee state wildflower. The local salamander Desmognathus ocoee in the Tennessee region is also named after the Cherokee word for P. incarnata. For thousands of years the maypop was a staple food and medicinal plant for the Cherokee and to this day it is a revered piece of their heritage. This, and other passionflowers are the exclusive larval host plants for the Gulf fritillary and non-exclusive for the variegated fritillary butterflies.
Cultivation
Passiflora incarnata is easily cultivated and in its native range and homeland is a common low maintenance garden plant that can be trained to adorn fences and arbors. Passiflora incarnata fruit contain many seeds, each surrounded by an aril holding edible juice, and this juice can be consumed fresh or used to flavor processed products. The wild maypop is an aggressive vine native to the southeastern United States extending into the central US reaching Illinois, Indiana, and Ohio. The vines can carpet the floor of thickets within days in favorable weather. The plants grow in full sun and need direct sunlight for at least half of the day. The best soils for P. incarnata are well-drained but the plants tolerate occasionally wet and acidic soils. The plants have a high drought tolerance. P. incarnata can be planted all the year in zone 6–11 (hardiness zone). The space between two plants is 36–60 inches (91.44 – 152.4 cm). One to two years are necessary before they begin bearing. Each flower has a very short life (about one day). Then the fruit develops in two to three months. The harvest depends on vine size and age of the plant but one reported 10–20 fruits per vine. Seeds can be collected in the fall after the fruit has begun to shrivel. There are some problems with nematodes and caterpillars in the culture of P. incarnata.
The flowers appear suitable for carpenter bee pollination and may attract ruby-throated hummingbirds. As both bees and hummingbirds look for nectar, the pollen filled flower anthers brush the back of the bee or the face of the hummingbird, enabling pollen to be readily transferred to the central sticky stigma.
Passiflora incarnata can potentially become an agricultural weed. The genus Passiflora introduced for agricultural purpose has been reported as an important weed in certain regions of the world. The United States Department of Agriculture notes that P. incarnata is referred to as a weed by these publications: Weeds of Kentucky and adjacent states: a field guide and Weeds of the United States and Canada.
Mechanical control as removing the suckers regularly is advised to prevent the spreading of maypop. It is also recommended to train the vines onto trellis and fences to limit propagation.
Propagation
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Sprouting maypop in July
A cutting harvested after sprouting inground
Three year old maypop grown from seed
It can be grown from seed with four months of cold stratification and a multi-month germination period, but it is notoriously finicky with a germination rate below 20%.
Propagation by root is completely more reliable. A healthy 4- to 8-inch cutting guarantees strong sprouting within a month, regardless of the harvest time of the year. Thicker roots are more vigorous and can usually be found by digging no deeper than 2 inches in the soil.
The actual lifespan of the maypop plant is not documented. Therefore, how long the root-propagated plants would last, by age of the parent plant, is currently unknown. Maypops planted from seed seem healthier.
The roots themselves grow thick and long across the ground, mostly of a uniform diameter, and do not branch often. The smaller, more branching thin roots eventually grow into longer roots, which become thicker with age.
Pests
Once they find it and congregate, Japanese beetles eat massive amounts of the leaves and some of the flowers.
Historically, the plant has been used as a herbal medicine.
Passionflower is included in pharmacopeias, such as the European and British Pharmacopoeias in which the dried aerial parts of the plant are mentioned. In North America and South America, tea made from the roots is used as a tonic. The U.S. Food and Drug Administration withdrew approval of its marketing because manufacturers did not submit any evidence regarding its safety and effectiveness.
A 2013 literature review found that the herb has "a good safety profile". One study found that a daily intake of 800 mg of a dried alcoholic extract, taken over the course of 8 weeks for anxiety, appeared to have been safe.
Passionflower is used as a natural flavoring agent in food manufacturing and is generally recognized as a safe substance (GRAS).
P. incarnata is also listed in the European Register of Feed additives as an animal feed additive.
Interactions
Possible interactions with following medications:
Sedatives
Anticoagulants
Monoamine oxidase inhibitors
P. incarnata may increase main effects or side effects of medications listed above.
For oral consumption, pregnant or breastfeeding women should use caution and seek medical advice before orally consuming P. incarnata. The effects of oral ingestion of the plant compounds on reproduction or on unborn child have not been tested.
Phytochemistry
P. incarnata contains flavonoids and alkaloids, with leaves containing the greatest concentration of flavonoids. Other flavonoids present in P. incarnata include chrysin, apigenin, luteolin, quercetin, kaempferol, and isovitexin.
The main bioactive substances identified in P. incarnata include polyphenols, flavonoids, carotenoids, anthocyanins and other natural antioxidants. The polyphenols mainly belonging to the flavones C-glucoside class are present in P. incarnata and these phenols and flavonoids have high potential antioxidant properties that exhibit significant free radical scavenging activity.
Culinary uses
Passionflower has culinary fruits that may be used for jams, jellies and desserts. The juice is a favorite flavoring in drinks. It can be used as a fresh substitute for its commercially grown South American relative, Passiflora edulis, a related species with similar sized fruit. The fruit can be eaten by hand; it has a mildly sweet-tart taste similar to an apricot and a pleasant scent when fully ripe. The Passiflora family have aromatic, sweet fruit that make it highly appreciated for fresh consumption and as a flavoring aid.
On my walk to work this morning; I left a bit early because we had a light rain followed by snow, yesterday and last night. Thanks for the
110, 000 views on my photostream....
•The truth about Yosemite: www.nbcbayarea.com/news/local/Sexual-Harassment-Common-in...
If you have time to set back for a minute; I’ll share with you what really goes on in Yosemite National Park and throughout this Country of ours. Just this week I discovered that someone had tampered with my brake line, to cause it to leak. I went to Fresno last week, driving down curving mountain roads, spent a couple days, drove all over the place and my brakes were fine. I walk to work, I used to ride my bicycle but it was tampered with and vandalized on a regular bases. I had a meeting Monday, was running late so I decided to drive. I got in my Jeep and the brake pedal went clear to the floor. I made it to the meeting using my emergency break and noticed brake fluid on the ground by my right rear tire. Wednesday (on my day off) I jacked it up and took a look at it. Someone had pulled the right rear line until it cracked and was leaking (a metal line). I removed the line, plugged it until I get a replacement. I did my first brake job when I was 14 and know what I’m doing. If I would have left the Park, driving down these steep winding roads I could have killed someone. This shows the mentality of the people involved in Gang Stalking, Community Based Stalking and Workplace mobbing. They have no regard for their Targets or anyone else that may get in the way.
Now that I’m a bit fired up I’ll share a few other things with you. In my photostream I state that Yosemite Law Enforcement and its Contractors allow this. I’ll explain; I’ve had the valve stems on my Jeep pulled back and forth until they cause a split on the side. This caused a slow leak and my tires to go flat, on all four tires (I started working at a full service garage and gas station when I was 13 and know tire repair). I’ve had liquids thrown on my Jeep, animal feces packed in the driver’s door handle, the brake lines on my bike loosened, three spokes broke, air let out of tires (on a new bike). My neighbors enter my residence on a regular base; my personal items are tampered with, vandalized, taken, including my camera equipment. I try to sleep and my neighbors make any loud noise that can to wake me. I am harassed and bullied at my residence, my work, throughout the Park, each and every day.
You can see some of the pictures of these incidents throughout my photostream. I had an employee walk up to me today and say “I’m going to be one of those people you hate and stalk you, hunt you down”. I don’t even know this woman. This shows how brazen and stupid some of these people are.
I filed a theft report; when I finished I asked for a copy. I was told I would receive one once a Park Ranger did their investigation. I was never contacted; I later requested a copy of the report I made and was told it couldn’t be found. I called and asked where I need to file a Freedom of Information Act; requesting a copy of the incidents that I have filed and reports from Park Rangers (over a four year period). I was told to submit it to the Law Enforcement Office. I took the time to list each incident and date in detail. By law an agency has 30 days to complete this request. I waited 6 months and never received it. I went back and no one knew anything about it, was told I needed to submit it to the Park Superintends Office. I had all my point of contact info on it, but no one from Law Enforcement bothered to contact me.
Don’t get me wrong I don’t think everyone is bad. I meet and convers with wonderful people every day. And, not all the people involved in this are incapable of chewing gum and walking at the same time, some are very intelligent (excluding my neighbors). They all are void of morals and courage, courage to say no; this is wrong, I’m not going to do this.
People this is real, this is America today; where a community can track and follow you with a phone app. Where someone can rally a community, a workplace against you; based on lies, innuendos, jealously, immaturity. This is an America where some people are paid to do this; for something as simple as standing up for yourself, your values, your rights, our Constitution. This is what our children and grandchildren are growing up in. What are you going to say when they come to you for help and there is none? What do I tell the many Targeted Individuals that have contacted me, asking for help?
There are many books on these subjects, but no real law enforcement. Whistleblower laws and contacts are a joke, as is our Department of Justice. Why do you think many whistleblowers, people that expose Corporate and Government corruption flee this country, they know they will be Targeted…. If you find this hard to believe take a look at what a total stranger is capable of; in my post “What would you do” It give a link to the show, where an actor pretending to be a Bounty Hunter (with a fake badge) talks a woman into putting a sedative in a single mothers drink, in a public restaurant.
I do not want sympathy, save that for the many others that are struggling through this psychological torture, each and every day. I do want to thank you for taking the time to read this.
Please help stop and expose Gang Stalking, Community Based Stalking and Workplace Mobbing by signing the following petitions. These immoral acts are allowed in Yosemite National Park by Law Enforcement and its Contractors. Thank you for taking the time to visit my photostream.
www.change.org/petitions/attorney-general-kamala-d-harris...
www.change.org/petitions/u-s-congress-outlaw-organized-ga...
www.change.org/petitions/taps-petition-to-investigate-org...
Thank you, in advance, to those of you who take a moment to leave a comment and/or fave my photo. I appreciate it tremendously.
Native Americans traditionally used P. incarnata for its sedative and anxioltyic properties, in addition to eating the sweet fruit. These medicinal uses have been expanded upon in recent years
Further research is being done to uncover the specific compounds responsible for these properties, so that they can be more effectively used for pharmaceutical applications.
The Fullerton Arboretum is a 26 acre botanical garden with a collection of plants from around the world, located on the northeast corner of the California State University, Fullerton campus in Fullerton, California, in the United States.
It is the largest botanical garden in Orange County, with a collection of over 4,000 plants. The Arboretum saves species that are extinct or near extinction and serves as a learning place for agricultural history.
The Arboretum officially was created in 1976, and officially opened in 1979.
The arboretum, which was originally a diseased orange grove, was transformed into organic gardening plots.
A centerpiece of the Arboretum is the Heritage House, which was built in 1894 as the home and office of Fullerton's pioneer physician, Dr. George C. Clark.
In 1972 the house was moved to what is now the middle of the Arboretum.
The restored house now serves as a museum of family life and medical practice of the 1890s.
Flower Aparajita or Clitoria ternatea (Sanskrit: श्वेतां, विष्णूक्रांता). A Macro shot.
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This plant is native to tropical equatorial Asia, but has been introduced to Africa, Australia and America.
It is a perennial herbaceous plant. Its leaves are elliptic and obtuse. It grows as a vine or creeper, doing well in moist neutral soil. The most striking feature about this plant are its vivid deep blue flowers. They are solitary, with light yellow markings. They are about 4 cm long by 3 cm wide. There are some varieties that yield white flowers.
The fruits are 5 – 7 cm long, flat pods with 6 to 10 seeds in each pod. They are edible when tender.
It is grown as an ornamental plant and as a revegetation species (e.g., in coal mines in Australia), requiring little care when cultivated. Its roots fix nitrogen and therefore this plant is also used to improve soil quality.
In traditional Ayurvedic medicine, it has been used for centuries as a memory enhancer, nootropic, antistress, anxiolytic, antidepressant, anticonvulsant, tranquilizing and sedative agent.
Flower and pods in different states of ripenessIn Southeast Asia the flowers are used to colour food. In Malay cooking, an aqueous extract is used to colour glutinous rice for kuih ketan (also known as pulut tai tai in Peranakan/Nyonya cooking) and in nonya chang. In Thailand, a syrupy blue drink is made called nam dok anchan (น้ำดอกอัญชัน). In Burma the flowers are used as food, often they are dipped in batter and fried.
In animal tests the methanolic extract of Clitoria ternatea roots demonstrated nootropic, anxiolytic, antidepressant, anticonvulsant and antistress activity. The active constituent(s) include Tannins, resins, Starch, Taraxerol & Taraxerone.
Clitoria ternatea root extracts are capable of curing whooping cough if taken orally[citation needed]. The extract from the white-flowered plant can cure goiter. The roots are used in ayurveda Indian medicine.
Recently, several biologically active peptides called cliotides have been isolated from the heat-stable fraction of Clitoria ternatea extract. Cliotides belong to the cyclotides family[4] and acvities studies show that cliotides display potent antimicrobial activity against E. coli, K. pneumonia, P. aeruginosa and cytotoxicity against HeLa cells. These peptides have potential to be lead compound for the development of novel antimicrobial and anti-cancer agents.
Urban mazes, labyrinths
Compressed spaces, cavities
Shapeless faces, violent scenes
Mindless workers, fertile queens
Have you ever seen me in this place before?
I guess I lost myself, it's not an illusion
The more I get to know, the less I can control
Don't know which way to go, I'm so confused
Crowded places, sedatives
Dally wages, basic needs
Squirrel cages, loony bins
Mindless workers, fertile queens
Have you ever seen me in this place before?
I guess I lost myself, it's not an illusion
The more I get to know, the less I can control
Don't know which way to go, I'm so confused
just one of those nights where you want to go out but can't because of the rain and cold weather and you just want to sleep after a bottle of Trader Joe's Wine...
Hope everyone is having a good time too tonight..
Batman: Batman to all units. Report in.
Bruce sends out an all points bulletin to us wanting to know the status of all the towers.
Nightwing: East tower reporting.
Red Robin: West tower here.
…..
Batman: South tower, report in.
…….
Batman: What’s going on, Alfred?
Alfred: Difficult to say, sir. I’ll keep trying to connect you.
Batman: Let me know the moment you do.
Red Robin: Is everything alright, Bruce?
Batman: We can’t raise the Outlaws. Hopefully it’s just an equipment fault. East tower, give me a status report.
Batgirl: East tower is offline. Toxin concentration is dropping rapidly. All being well it’ll be harmless within the hour.
Batman: West tower?
Red Robin: There were complications but we managed to get it offline.
Batman: And Ubu?
Talia: ….Neutralised.
That’s certainly one way of putting it. For a brief moment I wonder whether or not it’s enough to fool Bruce, but the answer is no. Of course it isn't.
Batman: Restrained?
Talia: Neutralised.
Batman: Understood.
Nighwing: I take it this means the north tower is offline as well.
Batman: Affirmative. The League is moving to phase two. Having split us up across Gotham they’ve accomplished the goal that the gas was intended to distract us from.
Red Robin: They’ve sprung him?
I always figured that they would, but I never even considered that they’d use this gas attack simply as a distraction whilst their breakout.
Batman: Most likely.
Batgirl: That doesn’t sound like a definitive yes….
It is a yes, Barbra. Bruce wouldn’t have called the towers a distraction so clearly were he not certain. Deep down, I’m oddly impressed. As far as distractions go possibly covering the entire Eastern seaboard in a cloud of toxic gas is up there. I dread to think what it's like when they're not just trying to distract us.
No wonder Bruce always knows how to make a good distraction when he needs to.
Nightwing: They’ll have tripped the cave’s motions sensors, that’s how he knows they’ve freed him.
Talia: If that’s the case, Beloved, they’ll be coming for you.
Batman: That’s what I’m counting on. In the meantime, the League will be moving to cripple the city so it’s unable to stop the Arkham inmates once they’re set free.
Nightwing Arkham? Why do they want to release the inmates at Arkham?
Red Robin: To do their dirty work for them. Why dirty your hands when there’s a bunch of psychos willing to do it for you.
Again, this sounds like something I could easily see Bruce doing were he the one leading the League against us. In some way that’s comforting but it's also terrifying. On the one hand Bruce knows their strategies and should be able to counteract them. Not to mention that Talia should give us an extra advantage by knowing the methods her father chose not to share with Bruce. But on the other hand, Ra’s is no doubt aware that Bruce and Talia will be trying to guess his every move and is probably using strategies they’ve never even heard of to try and remove any advantage they might give us.
If you need any proof about that, just look how surprised they both were with the gas attack. Neither of them saw it coming and Bruce himself even said how unusual a tactic it was for Ra’s. Who’s to say them triggering the cave’s motion sensors isn’t simply part of their plan and that they're not leading us into a trap?
Batgirl: Not to mention it avoids drawing too much attention to themselves. Helps them to remain the shadows where they’re most comfortable.
Nightwing: Then let’s draw them out. How long will it take you guys to make it to Arkham?
Batman: You’re not going to Arkham.
Nightwing: What?
Batgirl: You can’t be serious?
Batman: The Outlaws will deal with Arkham. I need the pair of you to reinforce the GCPD and secure the lockup.
Batgirl: You think they’re going to target the GCPD?
Talia: They’d be foolish not to. With our numbers so small in comparison to theirs, the only way we could hope to contain a breakout at Arkham is with the GCPD’s assistance. If they truly want to break us, they’ll try to take the GCPD out of the picture.
Batgirl: Dad…
Nightwing: We’re on it.
Red Robin: What about me?
Batman: I’m feeding co-ordinates to a cache near your location, there should be equipment there that you’ll both need to reinforce Selina at Gotham General.
Gotham General? He thinks they’d go after a hospital? Oh who am I kidding, of course they would.
Red Robin: What about you?
Batman: …..
Nightwing: You can’t be serious.
Batman: I have to try and talk to him. Maybe, just maybe…
Talia: Bruce, you can’t negotiate with someone when you’re at their mercy. You of all people should understand that……..I’m coming with you
Batgirl: Are you both suicidal?
Alfred: Sir, we both know there’s a good chance that Ra’s set those alarms off intentionally. If you go there alone…
Nice to know that Al has the same suspicions as I do about the cave’s motion sensors.
Talia: He’s not going alone. I’m coming with you, Bruce.
Batman: No, you’re needed at Gotham General, Talia.
Talia: I’m not letting you kill yourself. I’m going with you.
Red Robin: Selina and I can secure Gotham General. If you’re going to face him, you shouldn’t be going alone.
Hopefully Selina’s a lot friendlier than I remember. The last time we crossed paths was on one of my first nights as Robin and to say it didn’t go well would be an understatement.
Batman: I’ll be fine. Our priority has to be stopping them from destroying Gotham.
Nightwing: And how are we going to do that if you’re dead?
Talia: I’m on my way to you now. Don’t you dare move until I’m there.
Batman: ….
Batgirl: Alright, Dick and I are getting ready to head over to GCPD. It’ll take us some time to get there. Tim?
With Bruce not saying a word, Alfred feeds me the location of the supply cache Bruce spoke of. A quick check of its position relative to my tower shows that it's a block and a half away. Should take me a couple of minutes to make it there at most. Getting to Gotham General on the other hand will be a different matter.
Red Robin: The cache’s location has just been uploaded to my cowl, I’m heading there now before rendezvousing with Selina at Gotham General.
Alfred: Ms. Al-Ghul I’ve dispatched the Batwing to your position. It should be with you in a few moments.
Talia: Roger, bunker. Any word from the Outlaws?
Alfred: Nothing yet, I’ll keep trying and relay their orders to them once I make contact.
Nightwing: Let us know if you still can’t get through to them. Nightwing out.
Red Robin: I’ll let you know when I’m at Gotham General, Al. Red Robin out.
Talia and I exchange few words on the tower’s rooftop beyond splitting up to go our separate ways. Hopefully she and Bruce can keep each other safe when they go to confront Ra's. They’ll be walking into the belly of the beast and there’s no telling what will be waiting for them. Hopefully we can at least make their job easier by drawing some of the League’s forces away from the cave.
———————
It takes just over 10 minutes to make it to Gotham General. Thankfully Alfred decided to lend me a hand and had the Batwing pick me up and deliver me to roof of the hospital once I’d collected the supplies Bruce had asked me to bring. Hopefully the League’s forces aren’t already here. If they are, then I just gave up the element of surprise thanks to the Batwing’s engines. Sooner or later Lucius is really going to have to replace them. The whole silent guardian motif is rather ruined when you have a pair of loud jet engines announcing your arrival.
A quick scan of the hospital patient log shows that Steph is in room 6 on the third floor. That means Selina should be in the third floor waiting room. I make my way down to the third floor and for a brief moment consider quickly looking into Steph’s room before heading into the waiting room. But before I have a chance to properly look through the window in the door, I’m grabbed from behind and dragged into the waiting room by Selina.
Selina: Are you trying to draw attention to her?
Red Robin: No I... just wanted to see how she was doing.
Selina: She’s fine, she’s stable. The doctor’s have done all they can for her. We’re not going to know what state she’s in until the sedatives wear off.
Red Robin: Phew Thank you. For looking after her.
It’s then that I notice the coffee cup she’s holding in her hand.
Red Robin: Where’d you get that?
Selina: Where do you think? What? Am I not allowed to use the coffee machine now?
Red Robin: Where’d you get the money?
Selina: From my last job.
Red Robin: Job?
That’s nowhere near as innocent as it sounds. Selina is a master thief after all so whatever money she has right now is almost certainly not hers.
Selina: Yeah, a girl’s got to eat and drink. What? Is the big bad bird telling me I can’t use the coffee machine now as well? Is that not part of 'being on best behaviour'?
Red Robin: No, I’m just saying………
Selina: Saying what?
Red Robin: That is YOUR money, right?
She smiles all but confirming that it’s not. Great, guess I’m going to have to find out who we’ll have to reimburse once this is all over. But until then, we’ve got bigger fish to fry.
Selina: It is now. Anyways what are you even doing here? Doesn’t tall dark and brooding need your help for something?
Red Robin: That’s why I’m here.
Selina: Oh? He has you checking up on me to make sure I'm staying out of trouble? Now I’m hurt.
Rather than say another word I choose instead to open the bag and empty the contents on to the waiting room table. Without even saying a word, Selina’s eyes begin to burst with joy.
Selina: For me? You shouldn't have.
Red Robin: Consider it payment in advance.
Selina: Surprised he’s trusting me with this stuff after what happened when I stole his belt. Wait. In advance? In advance of what?
Red Robin: The people who have been attacking Gotham are coming here. I need your help to stop them.
Selina: So what ?You think you can bribe me with some shiny new toys? Shiny things are Magpie’s territory, little bird.
Red Robin: Please, I can’t do this on my own.
For a moment it looks like she’s going to turn and walk away, but she hesitates before then stopping herself.
Selina: How serious are we talking?
Red Robin: Serious enough for him to give you all this.
I say pointing to all the equipment Bruce had me bring for her. Vambraces, attachable claws, a utility belt, grapple gun, whip and mask. Given how much trouble she gave Bruce when she stole his belt the first time they met, this really is a sign of both desperation and how much trust he has in her.
Selina: Christ, he must be desperate.
Selina walks up to the table and inspects the mask before putting it on.
Selina: A perfect fit. That’s a bit scary. Especially since I don’t remember ever giving him my measurements. No full suit?
Red Robin: No, that’s all there was at the cache he had me stop by before coming here.
Selina: Then I guess I’ll have to make do with what I’ve got. How much time have we got before they get here?
Before I can answer the whole building shakes as what sounds like an explosion comes from the front entrance.
Red Robin: None.
Nymphaea alba, the white waterlily, European white water lily or white nenuphar, is an aquatic flowering plant in the family Nymphaeaceae. It is native to North Africa, temperate Asia, Europe and tropical Asia (Jammu and Kashmir).
Description
It grows in water that is 30–150 cm (12–59 in) deep and likes large ponds and lakes.
The leaves can be up to 30 cm (12 in) in diameter and take up a spread of 150 cm (59 in) per plant. The flowers are white and they have many small stamens inside.
Cytology
The chromosome count is n = 42. The genome size is 1950 Mb.
Taxonomy
It was first published and described by Carl Linnaeus in his book 'Species Plantarum', on page 510 in 1753.
The red variety (Nymphaea alba f. rosea) is cultivated from lake Fagertärn ("Fair tarn") in the forest of Tiveden, Sweden, where it was discovered in the early 19th century. The discovery led to large-scale exploitation which nearly made it extinct in the wild before it was protected.
Nymphaea candida J. Presl is sometimes considered a subspecies of N. alba (N. alba L. subsp. candida (J. Presl) Korsh.).
Synonyms
Synonyms of Nymphaea alba L.
Synonyms of Nymphaea alba subsp. alba
Synonyms of Nymphaea alba subsp. occidentalis (Ostenf.) Hyl.
Distribution and habitat
It is found all over Europe and in parts of North Africa and the Middle East in fresh water. In Africa, it is found in Algeria, Morocco and Tunisia. In temperate Asia, Armenia, Azerbaijan, Siberia, Iran, Iraq, Palestine and Turkey. It is found in tropical Asia, within the Indian provinces of Jammu and Kashmir. Lastly, within Europe, it is found in Belarus, Estonia, Latvia, Lithuania, Moldova, Russian Federation, Ukraine, Austria, Belgium, Czech Republic, Germany, Hungary, Netherlands, Poland, Slovakia, Switzerland, Denmark, Finland, Ireland, Norway, Sweden, United Kingdom, Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Greece, Italy, Montenegro, North Macedonia, Romania, Serbia, Slovenia, France, Portugal and Spain.
Phytochemistry
It contains the active alkaloids nupharine and nymphaeine, and is a sedative and an aphrodisiac/anaphrodisiac depending on sources.[citation needed] Although roots and stalks are used in traditional herbal medicine along with the flower, the petals and other flower parts are the most potent. Alcohol can be used to extract the active alkaloids, and it also boosts the sedative effects. The root of the plant was used by monks and nuns for hundreds of years as an anaphrodisiac, being crushed and mixed with wine. In the earliest printed medical textbooks, authors maintained this use, though warning against consuming large and frequent doses.
- -To all my friends- -
- -I got a blade- -
- -A sedative- -
- -the rope tied- -
- -Thanks for everything- -
- -from the love below- -
- -Put my finger on the trigger and I'll let it go- -
- -Electricity- -
- -at my fingertips- -
- -A gas leak- -
- -in case that I forget- -
- -I’ve got all I need- -
- -to get me out of here- -
- -Leave me be with my remorse then I will disappear- -
I want - to hurt - myself, I want - to hurt - myself
I want - I want - I want - to hurt - myself
I want - to hurt - myself
- 'I Want To Hurt Myself'- Mr.Kitty
--------------------------------------------
This isn't a reflection of my current mental health. I've actually been doing pretty ok the last few months. Like I said in my last post, I've been playing a lot of RDR2, and its been a good source of escapism.
I just wanted to try recreating this album art, because I thought it would be an easy enough project to achieve.
One of several gorgeous maracujá flowers (Passion Flowers) on a vine-covered fence in Santa Catarina, Brazil.
Family: Passifloraceae
Genus: Passiflora
Species: incarnata, edulis
Passionflower is a hardy woody vine that grows up to 10 m long and puts off tendrils, enabling it to climb up and over other plants in the rainforest canopy. It bears striking, large white flowers with pink or purple centers. The flowers gave it the name passionflower (or flower of passion) because Spanish missionaries thought they represented some of the objects associated with the Crucification of Christ. [...] There are over 200 species of passionflower vines; the most prevalent species in the Amazon are Passiflora edulis and P. incarnata. [...] Passionflower is widely employed by herbalists and natural health practitioners around the world today for its sedative, nervine, anti-spasmodic and analgesic effects.
www.rain-tree.com/maracuja.htm
Earth Day is a day designed to inspire awareness and appreciation for the Earth's environment. It was founded by U.S. Senator Gaylord Nelson as an environmental teach-in held on April 22, 1970.[1] Earth Day is celebrated in spring in the Northern Hemisphere and autumn in the Southern Hemisphere. Many communities celebrate Earth Week, an entire week of activities focused on environmental issues. The first Earth Week originated in Philadelphia in 1970 (starting April 16 and culminating on Earth Day, April 22.)[2]
Los Angeles, CA
Loquats are said to act as a sedative and if eaten to halt vomiting and thirst. The flowers are regarded as having expectorant properties and an infusion of the leaves may be taken to relieve diarrhea and depression and to counteract intoxication from consumption of alcoholic beverages.
SN/NC: Erythrina Mulungu, Fabaceae Family
Several Erythrina tree species are used by indigenous peoples in the Amazon as medicines, insecticides and fish poisons. Tinctures and decoctions made from the leaves or barks of Mulungu are often used in Brazilian traditional medicine as a sedative, to calm an overexcited nervous system, to lower blood pressure and for insomnia and depression.
Commercial preparations of Mulungu are available in Brazilian drugstores, but is not very widely known in North America and almost unknown in Europe; mostly appearing as an ingredient in only a few herbal formulas for anxiety or depression.
The contrast with Canada shown previously
Ahuejote, también conocida por Bucare (Venezuela) es parte del grupo de Erythrinas. Son de unos colores que no pasan desapercebidos. Impresionante como son bellos estos árboles y decoran las florestas y parques de Brasil.
Mulungu, planta da familia das Eritrinas. Cores chamativas e nao podem passar despercebidas. Elas estão nos parques de toda a cidade de São Paulo e também ao longo das estradas e nas vias expressas da capital, especialmente Marginal de Pinheiros. Tem propriedades medicinais afamadas, pelo chá que se faz com a casca do tronco e serve de calmante, controla a pressão arterial, e combate o estresse. Além de ser de uma cor alaranjada lindíssima.
SN/NC: Erythrina Falcata, Syn. & Var. E. Mulungu, E. Fusca, E. Crista-galli, E. Poepigiana, E. Glauca, Fabaceae Family
Several Erythrina tree species are used by indigenous peoples in the Amazon as medicines, insecticides and fish poisons. Tinctures and decoctions made from the leaves or barks of Mulungu are often used in Brazilian traditional medicine as a sedative, to calm an overexcited nervous system, to lower blood pressure and for insomnia and depression.
Commercial preparations of Mulungu are available in Brazilian drugstores, but is not very widely known in North America and almost unknown in Europe; mostly appearing as an ingredient in only a few herbal formulas for anxiety or depression. Erythrinas are composed of so many different species and all of them carry the red, orange or coral flowers as their main characteristic. And of course, they look so beautiful giving life to the woods. Popular names: Brazilian Coral Tree, Mulungu, Ahuejote
Várias espécies de árvores Eritrinas são usadas por povos indígenas na Amazônia como remédios, inseticidas e venenos para peixes. Tinturas e decocções feitas com folhas ou cascas de Mulungu (Eritrina) são frequentemente usadas na medicina tradicional brasileira como sedativo, para acalmar um sistema nervoso superexcitado, para baixar a pressão sanguínea e para insônia e depressão.
Preparações comerciais de Mulungu (Eritrina) estão disponíveis nas farmácias brasileiras, mas não são muito conhecidas na América do Norte e quase desconhecidas na Europa; principalmente aparecendo como um ingrediente em apenas algumas fórmulas à base de plantas para ansiedade ou depressão. As Eritrinas são compostas por tantas espécies diferentes e todas elas carregam como característica principal as flores vermelhas, alaranjadas ou corais. E claro, ficam tão lindas dando vida à mata.
Los pueblos indígenas de la Amazonía utilizan varias especies de árboles de Erythrina como medicinas, insecticidas y venenos para peces. Las tinturas y decocciones hechas de las hojas o cortezas de Mulungu se usan a menudo en la medicina tradicional brasileña como sedantes, para calmar un sistema nervioso sobreexcitado, para bajar la presión arterial y para el insomnio y la depresión.
Las preparaciones comerciales de Mulungu están disponibles en las farmacias brasileñas, pero no son muy conocidas en América del Norte y casi desconocidas en Europa; apareciendo principalmente como ingrediente en solo unas pocas fórmulas a base de hierbas para la ansiedad o la depresión. Las Erythrinas están compuestas por tantas especies diferentes y todas ellas llevan como principal característica las flores rojas, anaranjadas o coralinas. Y por supuesto, se ven tan hermosos dando vida al bosque.
Plusieurs espèces d'arbres Erythrina sont utilisées par les peuples autochtones d'Amazonie comme médicaments, insecticides et poisons pour les poissons. Les teintures et décoctions à base de feuilles ou d'écorces de Mulungu sont souvent utilisées dans la médecine traditionnelle brésilienne comme sédatif, pour calmer un système nerveux surexcité, pour abaisser la tension artérielle et pour l'insomnie et la dépression.
Des préparations commerciales de Mulungu sont disponibles dans les pharmacies brésiliennes, mais elles ne sont pas très connues en Amérique du Nord et presque inconnues en Europe ; apparaissant principalement comme ingrédient dans seulement quelques formules à base de plantes pour l'anxiété ou la dépression. Les érythrines sont composées de tant d'espèces différentes et toutes portent les fleurs rouges, oranges ou corail comme principale caractéristique. Et bien sûr, ils sont si beaux en donnant vie aux bois.
Verschillende Erythrina-boomsoorten worden door inheemse volkeren in het Amazonegebied gebruikt als medicijnen, insecticiden en visgif. Tincturen en afkooksels gemaakt van de bladeren of blaffen van Mulungu worden in de traditionele Braziliaanse geneeskunde vaak gebruikt als kalmerend middel, om een overprikkeld zenuwstelsel te kalmeren, om de bloeddruk te verlagen en voor slapeloosheid en depressie.
Commerciële bereidingen van Mulungu zijn verkrijgbaar in Braziliaanse drogisterijen, maar zijn niet erg bekend in Noord-Amerika en vrijwel onbekend in Europa; komt meestal voor als ingrediënt in slechts een paar kruidenformules voor angst of depressie. Erythrina's zijn samengesteld uit zoveel verschillende soorten en ze dragen allemaal de rode, oranje of koraalkleurige bloemen als hun belangrijkste kenmerk. En natuurlijk zien ze er zo mooi uit om het bos leven in te blazen.
Diverse specie di alberi di Erythrina sono utilizzate dalle popolazioni indigene dell'Amazzonia come medicinali, insetticidi e veleni per i pesci. Tinture e decotti ricavati dalle foglie o dalle cortecce di Mulungu sono spesso usati nella medicina tradizionale brasiliana come sedativo, per calmare un sistema nervoso sovraeccitato, per abbassare la pressione sanguigna e per l'insonnia e la depressione.
Preparazioni commerciali di Mulungu sono disponibili nelle farmacie brasiliane, ma è poco conosciuto in Nord America e quasi sconosciuto in Europa; per lo più appare come ingrediente solo in alcune formule a base di erbe per l'ansia o la depressione. Le Erythrinas sono composte da tantissime specie diverse e tutte portano come caratteristica principale i fiori rossi, arancioni o corallo. E, naturalmente, sono così belli che danno vita ai boschi.
Mehrere Erythrina-Baumarten werden von indigenen Völkern im Amazonasgebiet als Arzneimittel, Insektizide und Fischgifte verwendet. Tinkturen und Abkochungen aus den Blättern oder Rinden von Mulungu werden in der traditionellen brasilianischen Medizin häufig als Beruhigungsmittel, zur Beruhigung eines überreizten Nervensystems, zur Senkung des Blutdrucks sowie bei Schlaflosigkeit und Depressionen eingesetzt.
Kommerzielle Präparate von Mulungu sind in brasilianischen Drogerien erhältlich, in Nordamerika jedoch nicht sehr bekannt und in Europa nahezu unbekannt; kommt meist als Zutat in nur wenigen Kräuterformeln gegen Angstzustände oder Depressionen vor. Erythrinas bestehen aus sehr vielen verschiedenen Arten und alle tragen als Hauptmerkmal die roten, orangefarbenen oder korallenroten Blüten. Und natürlich sehen sie so schön aus, dass sie dem Wald Leben einhauchen.
تستخدم الشعوب الأصلية في منطقة الأمازون عدة أنواع من أشجار الإريثرينا كأدوية ومبيدات حشرية وسموم أسماك. غالبًا ما تستخدم الصبغات والاستخلاصات المصنوعة من أوراق أو لحاء مولونجو في الطب التقليدي البرازيلي كمسكن ، لتهدئة الجهاز العصبي المفرط ، ولخفض ضغط الدم وللأرق والاكتئاب.
تتوفر المستحضرات التجارية لـ Mulungu في الصيدليات البرازيلية ، ولكنها غير معروفة على نطاق واسع في أمريكا الشمالية وغير معروفة تقريبًا في أوروبا ؛ يظهر في الغالب كعنصر في عدد قليل من التركيبات العشبية للقلق أو الاكتئاب. تتكون Erythrinas من العديد من الأنواع المختلفة وكلها تحمل الزهور الحمراء أو البرتقالية أو المرجانية باعتبارها السمة الرئيسية لها. وبالطبع ، تبدو جميلة جدًا وهي تعطي الحياة للغابات.
いくつかのエリスリナの樹種は、アマゾンの先住民族によって薬、殺虫剤、魚毒として使用されています。ムルングの葉や樹皮から作られるチンキ剤や煎じ薬は、ブラジルの伝統医学で鎮静剤として、過度に興奮した神経系を落ち着かせ、血圧を下げ、不眠症やうつ病によく使用されます。
ムルングの市販製剤はブラジルのドラッグストアで入手できますが、北米ではあまり知られておらず、ヨーロッパでもほとんど知られていません。ほとんどの場合、不安やうつ病のためのほんの数種類のハーブ処方に成分として含まれています。エリスリナは非常に多くの異なる種で構成されており、そのすべてが赤、オレンジ、またはサンゴの花を主な特徴としています。そしてもちろん、森に命を吹き込んでいる姿はとても美しいです。
Papaver is a genus of 70–100 species of frost-tolerant annuals, biennials, and perennials native to temperate and cold regions of Eurasia, Africa and North America. It is the type genus of the poppy family, Papaveraceae.
Description
The flowers have two sepals that fall off as the bud opens, and four (or up to six) petals in red, pink, orange, yellow, or lilac. There are many stamens in several whorls around a compound pistil, which results from the fusion of carpels. The stigmas are visible on top of the capsule, and the number of stigmas corresponds to the number of fused carpels.
The ovary later develops into a dehiscing capsule, capped by the dried stigmas. The opened capsule scatters its numerous, tiny seeds as air movement shakes it, due to the long stem.
The typical Papaver gynoecium is superior (the flower is hypogynous) with a globular ovary. The style is characteristically absent for the type species opium poppy, and several others, although those with a style do exist. The sessile plate-like stigmata lies on top of the ovary. Pollen-receptive surfaces. The characteristic fruit type of Papaver is the unilocular capsule. The stigmatic disc rests on top of the capsule, and beneath it are dehiscent pores or valves.
Taxonomy
The factual accuracy of parts of this article (those related to this section) may be compromised due to out-of-date information. The reason given is: publications since 2006 are not taken into account. Relevant discussion may be found on the talk page. Please help update this article to reflect recent events or newly available information. (February 2021)
Divided into a number of sections by Kiger (1973, 1985), the following are lectotypified with their lectotype species. Subsequent cladistic classification by Carolan et al. (2006) suggested Papaver was not monophyletic.
Clade 1. P. sect. Meconella, Meconopsis
Clade 2. P. sect. Carinatae, P. sect. Meconidium, P. sect. Oxytona, P. sect. Papaver, P. sect. Pilosa, P. sect. Pseudopilosa, P. cambrica, P. sect. Californicum, P. sect. Horrida and P. sect. Rhoeadium
Clade 3. P. sect. Argemonidium, Roemeria refracta
The following are lectotypified with their lectotype species:
P. sect. Carinatae (P. macrostomum Boiss. & Huet)
P. sect. Oxytona (P. orientale L.)
P. sect. Macrantha (P. orientale L.) - superfluous
P. sect. Calomecon (Calomecon orientale)
Phylogeny of Papaver and related genera
Papaver sect. Argemonidium includes four annual, half-rosette species, P. argemone, P. pavonium, P. apulum, and P. hybridum (Kadereit 1986a). Papaver apulum, P. argemone and P. pavonium occur allopatrically from the Adriatic Sea to the Himalayan range. P. hybridum is distributed widely from the Himalayas to Macaronesian Islands. These species are easily distinguished in petal and capsule characters, but are clearly closely related according to molecular analysis. Argemonidium is a sister group to all other Papaver sections, with characteristic indels. Morphological characters also support this distinction, including the presence of an apical plug in the capsules, long internodes above the basal leaf rosette, bristly capsules and polyporate pollen grains. Carolan et al. (2006) supported Kadereit et al. (1997)’s suggestions that Argemonidium and Roemeria are in fact sister taxa. They share some morphological characters that distinguish them from Papaver, including polyporate pollen grains, and long internodes superior the basal leaf rosette. Previous taxonomies of the Old World clade did include the close relationship between Argemonidium and Roemeria, nor Argemonidium’s distinctness from Papaver s.s. Carolan suggest Argemonidium be elevated to genus status, with Roemeria a sub-genus.
Papaver sect. Meconella is widely distributed, with populations spanning central, inner and eastern Asia, Siberia, Scandinavia, northern Greenland, Canada, the Rocky Mountains, and regions of Europe. It has been distinguished from other Papaver sections morphologically by its bristly, valvate capsules, pinnatisect leaves, pale stamen, and white, orange or yellow corolla. Older taxonomies divided Meconella into two groups based on degree of leaf dissection (finely dissected leaves vs. broad leaf lobes). Kadereit (1990) and Kadereit and Sytsma (1992) regarded finely dissected leaves as a derived character, and suggested that Meconella formed a group with Argemonidium as sister to other Papaver sects. Bittkau and Kadereit (2002) demonstrated that for P. alpinum s.l. broad leaf lobes were ancestral. Carolan et al. (2006) resolved Meconopsis as sister to sect. Meconella, forming a sister clade to the rest of Papaver, excluding Argemonidium. Meconella possesses a sessile stigmatic disc, similar to the typical discs of Papaver sect. Papaver., yet differences in the disc and other morphological characters have led to suggestions that this feature may not be homologous. The results of the Carolan et al. (2006) analysis present a major problem to previous taxonomy of the genera Meconopsis, and Papaver. As several species of Meconopsis (excluding M. cambrica) and P. Meconella resolved as a monophyletic group, sister to other Papaver sects., either Meconella must be elevated to genus status, or combined with the Asian species of Meconopsis, as a subgenus of Papaver.
Papaver sects. Californicum and Horrida have unique geographic distributions in relation to the rest of the genus. Horrida is represented by a single species Papaver aculeatum of, an annual flower native to South Africa. The capsule is glabrous narrow, long and poricidal. The vegetative parts are covered with setae, and the growth form is a rosette with rarely branching axes, and narrowly elliptical incised leaves. P. sect. californicum, is also represented by a single annual species, of the same name. As the name implies, it is native to western North America, and is characterized by a slender, ribbed, glabrous capsule, a racemose inflorescence, yellow anthers and filaments, and valvate capsule dehiscece. Previous morphological-based taxonomies of these species have led to unreliable groupings. Horrida and Pilosa have racemose inflorescences, pale filiform filaments and long capsules with flat stigmatic discs, while P. californicum and sect. Meconidium share valvate capsule dehiscence and pale filaments, but geographically these species are distinct, and do not follow molecular evidence. Commonality among these features is therefore hypothesized to be a result of convergence. In Carolan et al.’s (2006) combined ITS, trnL-F trees, both Horrida and Californicum attach to basal nodes within the main clade Papaver. Kadereit et al. (1997) postulated that Stylomecon heterophylla arose from within Papaver and should not be relegated as a separate genus. S. heterophylla and P. californicum are both native to southwestern North America, and share habitats. They are also morphologically similar, sharing glabrous buds, bright orange corollas, and yellow anthers. Their capsules are different, with S. heterophylla possessing a distinct style that is reminiscent of those in many Meconopsis species. However, Carolan et al.’s (2006) analysis strongly supports a monophyletic group for S. heterophylla and P. californicum, sister to the core Papaver sects, with Horrida, basal to that grouping. They recommended that both sects. Californicum and Horrida be elevated to “subgenera” within Papaver. The authors reject the genus status of Stylomecon.
Meconopsis is composed of mostly Asian dwelling species, and a single European representative, M. cambrica. Kadereit et al. (1997) first provided evidence that this relationship is not monophyletic. Carolan et al. (2006) confirmed the separation of M. cambrica from the rest of Meconopsis. In fact, it forms a well-supported sister-group to the core sections of Papaver, excluding Argemonidium, Californicum, Horrida and Meconella.
The core sections of Papaver s.s. form a well-supported clade, consisting of Pseudopilosa, Pilosa, Papaver, Carinatae, Meconidium, Oxytona, and Rhoeadium. Pseudopilosa spp. have a subscapose growth habit, and their distribution includes south-western Asia, northern Africa and southern Spain. There are some leaves on the lower part of the flower axis carrying a single flower. Carolan et al.’s (2006) analysis placed Pseudopilosa as sister to the remaining Papaver s.s. sections. Pilosa is a single species, P. pilosum, found mostly in western Turkey Sects. Pilosa and Pseudopilosa are separated based on morphological and chemical differences.
The monophyly of Carinatae, Papaver and Rhoeadium is questionable based on current molecular evidence.[3] Papaver sect. Rhoeadium comprises seventeen annual species. Carolan et al. (2006) use three representative species, P. commutatum, P. dubium, and P. rhoeas for their genetic analysis. The geographic center of Rhoeadium’s diversity is in south-western Asia and the Aegean area. They have poricidal capsules and usually dark filaments. This section is morphologically diverse however, leading Kadereit (1989) to recognize three distinct groups. The first comprises species with tetraploid and hexaploid genomes, with long capsules. The second group contains diploid species and diverse morphologies. The third group consists of diploid species and uniform morphologies. Carolan et al. (2006) showed some incongruences between their trnL-F and ITS maximum parsimony trees, showing weak support for Kadereit's (1989) groupings. Further analyses with more species and more samples will be necessary to resolve the phylogeny at this level.
Papaver has traditionally been characterized by the absence of a stigma, and the presence of a sessile stigmatic disc. Carolan et al. (2006) demonstrated that several species with this trait however are closely related to taxa possessing a style e.g. S. heterophylla and P. californicum, and P. sect. Meconella and Asian Meconopsis. This evidence, in combination with morphological differences among the discs suggests convergent evolutionary pathways. Papaver has long been considered the most derived clade within Papaveroideae, due to the belief that the stigmatic disc was an apomorphous characteristic. Sections Meconella and Californicum exhibit valvate dehiscence, and their basal position within Papaver suggest this may be an ancestral form. Its presence in Meconidium, however, suggests it is also a synapomorphy within that group.
Note: Meconella (not to be confused with the genus Meconella) has an alpine and circumpolar arctic distribution and includes some of the most northerly-growing vascular land plants.
Species
There are 70–100 species, including:
Papaver acrochaetum
Papaver aculeatum : South African poppy
Papaver alboroseum : pale poppy
Papaver alpinum : dwarf poppy
Papaver amurense
Papaver apokrinomenon
Papaver apulum
Papaver arachnoideum
Papaver arenarium
Papaver argemone : long pricklyhead poppy, prickly poppy, pale poppy
Papaver armeniacum
Papaver atlanticum (syn. P. rupifragum var. atlanticum)
Papaver aurantiacum
Papaver belangeri
Papaver berberica
Papaver bipinnatum
Papaver bracteatum
Papaver burseri (syn. Papaver alpinum) - alpine poppy
Papaver californicum : fire poppy, western poppy
Papaver cambricum : Welsh poppy
Papaver clavatum
Papaver commutatum
Papaver croceum : ice poppy
Papaver curviscapum
Papaver cylindricum
Papaver dahlianum : Svalbard poppy
Papaver decaisnei
Papaver degenii : Pirin poppy
Papaver dubium : long-headed poppy, blindeyes
Papaver fugax
Papaver giganteum
Papaver glaucum : tulip poppy, Turkish red poppy
Papaver gorgoneum
Papaver gorodkovii : Arctic poppy
Papaver gracile :
Papaver guerlekense
Papaver hybridum : round pricklyhead poppy
Papaver kluanense : alpine poppy
Papaver lacerum
Papaver lapponicum : Lapland poppy
Papaver lasiothrix
Papaver lateritium
Papaver macounii : Macoun's poppy
Papaver mcconnellii : McConnell's poppy
Papaver miyabeanum : Japanese poppy
Papaver nudicaule : Iceland poppy, Icelandic poppy
Papaver orientale L.
Papaver paucifoliatum
Papaver persicum
Papaver pilosum :
Papaver polychaetum
Papaver postii
Papaver purpureamarginatum
Papaver pygmaeum : pigmy poppy
Papaver quintuplinervium : harebell poppy
Papaver radicatum : rooted poppy
Papaver rhoeas : common poppy, corn poppy, annual poppy, Flanders poppy, Shirley poppy
Papaver rhopalothece
Papaver rupifragum : Atlas poppy, Moroccan poppy, Spanish poppy
Papaver sendtneri : white alpine poppy
Papaver setiferum Goldblatt, syn. P. pseudo-orientale (Fedde) Medw. : Oriental poppy
Papaver setigerum : Poppy of Troy, dwarf breadseed poppy
Papaver somniferum : Opium poppy (Type species)
Papaver spicatum
Papaver strictum
Papaver stylatum
Papaver tenuifolium
Papaver triniifolium
Papaver umbonatum : Semitic poppy, Israeli poppy
Papaver walpolei : Walpole's poppy
History and uses
Poppies have been grown as ornamental plants since 5000 BC in Mesopotamia. They were found in Egyptian tombs. In Greek mythology, the poppy was associated with Demeter, goddess of fertility and agriculture. The origin of the cultural symbol was probably Minoan Crete, because a figurine known as the "poppy goddess" was found at a Minoan sanctuary in Crete.
In the course of history, poppies have always been attributed important medicinal properties. The stems contain a milky latex that may cause skin irritation, and the latex in the opium poppy (Papaver somniferum) contains several narcotic alkaloids, including morphine and codeine. The alkaloid rhoeadine, derived from the flowers of the corn poppy (Papaver rhoeas), is used as a mild sedative. Poppy seeds are used in baking and cooking, and poppyseed oil is used in cooking and pharmaceuticals, and as a radiocontrast agent.
The ancient Greeks portrayed Hypnos, Nyx and Thanatos, the gods of sleep, night and death, with the symbol of the poppy. The earliest written record appeared in the eighth century BC. Early Greek accounts seem to indicate the plant was used for euthanasia; on some Greek islands, women used it in old age to shorten the time left until natural death. Hippocrates (460–377 BC) was one of the first to emphasize the medicinal uses of the poppy and outline several methods of preparation. He described poppy juice as narcotic, hypnotic, and cathartic. He also recognized the plant's uses as food, particularly the seeds. By the first century AD, Dioskorides wrote down the first poppy taxonomy. He distinguished between several different kinds, the first of which was the "cultivated" or "garden" poppies. He further distinguished two types within this category, ones with black and others with white seeds. Both had elongated capsules and the black-seeded variety was involuted. Historians speculate this variety was Papaver somniferum. Other species were in use, as well. Dioskorides named the “flowering” poppy as a type with strong hypnotic properties. This is believed to be Papaver hybridum. Finally, the “wild” poppy he described is believed to be Papaver orientale. Pliny the Elder, a Roman historian, later mentioned an “intermediate” type between the wild and cultivated poppy, likely Papaver rhoeas. He wrote about medical applications of the plant; the leaves and capsules were boiled in water to create juice, pressed and rubbed to create tablets, and the dried latex was used to form opium. These products were used in much the same way they are in many cultures today, to promote sleep and to relieve indigestion and respiratory problems.
A century later, Galen wrote even more extensively about the diverse applications of various poppy products. He wrote that opium was the strongest known drug for dulling the senses and for inducing sleep. He wrote about its use to treat a variety of ailments, including eye and lung inflammation.
The First (1839–1842) and Second Opium Wars (1856–1860) between China and Great Britain resulted from attempts by successive Chinese emperors to suppress increasing imports of opium into the country. In the first half of the 19th century, poppy seed oil was an important food crop, but large-scale production did not begin until Europe began to manufacture morphine in the mid-19th century. While 800–1000 tons of Indian opium are processed legally each year, this represents only an estimated 5% of total opium production worldwide; the majority is produced illegally. The first factory specializing in dry capsule processing was built in 1928.
Today, morphine and codeine are common alkaloids found in several poppy varieties, and are important drugs for much of the world. Australia, Turkey and India are the most important producers of poppy for medicinal use, while the US, the UK, France, Australia and Hungary are the largest processors. In the United States, opium is illegal, as is possession or cultivation of the flower itself. However, the law is seldom enforced when poppies are grown for culinary or ornamental use. The Opium Poppy Control Act Of 1942 led to the “Poppy Rebellion”, and a battle between California farmers and the federal government. Today, the law and its enforcement remain vague and controversial, even inciting episodes between gardeners and "the poppy police".
They are also sold as cut flowers in flower arrangements, especially the Iceland poppy.
This divine beauty, an often forgotten stage and screen actress of the Hollywood Pre Code Era would set the template of the wild bed hopping temptress and actress long before future generations of actresses like Elizabeth Taylor, Grace Kelly and Ava Gardner would ultimately turn it into an artform. Tallulah would take advantage of the early years of silent Hollywood cinema, before the invention of the infamous Pre Code Laws on decent morals, and the gossip rag mags of the time that seemed more in favour of printing outrageous stories of these early movie stars than what the next big film on the horizon was. Tallulah would indeed create the mould as the sex mad actress and break it in half over her delicate little knee as she would be a one-off in this type of Hollywood actress behaviour that not only talked the talk but absolutely walked the walk in not shying away from the rumours, the gossip and pillow talk from people that knew her and indeed had relationships with her. This would be men and women that would find themselves under the spell of this incredible "live for the moment" woman. Stories of Tallulah at the height of her powers on screen as well as in the bedroom has become part of the fabled Hollywood folklore so long ago that much of the film industry whether it chooses to admit it or not, it owes a great deal to this legendary actress that helped create the lingering lustre and dreams of many young hopefuls and starlets heading West to California to follow the footsteps of Tallulah's early meteoric success, fame and fortune. The hedonistic lifestyle behind the scenes in private was just par of the course for many of these old screen stars like that would gain legendary notorious lifestyle reputations like Douglas Fairbanks, Rudolph Valentino, Jean Harlow, Joan Crawford and John Barrymore. Tallulah's destructive fast and loose lifestyle is perhaps remembered more today because she was a glamourous woman from the most privileged of family backgrounds. Her longing for shock and awe in the public eye was only matched and maybe surpassed by fellow screen idols of her day like John Barrymore, John Gilbert and Errol Flynn who would all drink themselves to death and die before her time was up in similar circumstances. Love affairs or just plain old one night hook-ups, Tallulah has been linked with include legends like Greta Garbo, Gary Cooper, Hattie McDaniel, Marlene Dietrich, James Stewart, Billie Holiday, George Raft and a long standing love affair with famed writer Mercedes de Acosta that's become the most famous one of all her known lovers. Known and remembered for her witty or scathing comments, being an unashamed extrovert and a lovely habit of stripping off naked at many of her infamous private house parties either shocking her guests or just lighting the blue touch paper ensuring a great night of revelry ahead. But this is a film blog and seems an eternity since I discussed her film career. It was a very good film career starting off in the vintage silent films of the 1910s when she was still a teenager, of course most of these vintage short films are classed as lost footage today. Getting film exposure in Great Britain from 1922 to the early 1930s raised her profile big enough for her return to the US in 1931 and being cast in a series of major films directed by great directors and starring opposite future screen greats like Charles Laughton, Cary Grant and Gary Cooper, later admitting in 1932 that she only took on the film part with Gary Cooper because she had designs on getting Gary into bed - she did not fail on that prospect. Such was Tallulah's wayward abandon to sex, she ended up in hospital in 1933 fighting for her life after contracting "gonorrhoea" and needing an emergency "hysterectomy" life saving operation which she would lay the blame at the feet of either Gary Cooper or George Raft, themselves having a very loose attitude to sex with countless different women. Tallulah however remained defiant in carrying on with her own sex vices telling her doctor "don't think this has taught me a lesson!", She still starred in great films after this time despite being underweight with her fast lifestyle threatening to catch her up, "The Little Foxes" (1939) being one of the best films of the decade. In my opinion Tallulah's best known film to today's audiences is the classic WW2 survival film "Lifeboat" in 1944 directed by master of suspense Alfred Hitchcock where she was cast as lead actress amongst a cast of just nine players stuck adrift on a lifeboat in the middle of the ocean after having their ship sunk by a German U-boat. A gripping thriller and Tallulah was fantastic in her role as a chatty columnist. This role would earn her the New York Film Critics award for Best Actress, amongst many Film Critic awards she was nominated and won over her career, four in total. Surprisingly though she was never nominated for an Oscar for any of her great performances. Tallulah was only married once for four years (1937-1941) before filing for divorce. She also had no children before that emergency hysterectomy operation in 1933. Her family background is one of vast wealth and privilege, a political family with grandfather and uncle as U.S senators and her father William Bankhead was Speaker of the House of Representatives. But they were also very racist with deep support for white supremacy and racial segregation in their state of Alabama. This was all at odds with Tallulah's liberal progressive ideals she instead supported like the Civil Rights Movement and other such causes that often saw her clash with her family. Knowing this about Tallulah just summed her up and how she lived her life, full of conviction, full hearts and eyes wide open regardless the fallout. Definitely a quality I admire in someone. In the 1950s her film career was slowing up although her hedonistic lifestyle showed no signs of following suit. Since the early 1930s with fame and fortune at her feet she'd indulge in all the vices afforded to her, a heavy smoker at a reported 120 cigarettes a day consumed, a heavy drinker and an addict to sleeping pills to calm her racing mind. Like all great Greek tragedies, Tallulah was on borrowed time at the start of the 1960s and now in her late 50s. Frail, weak and thin, unlike other great stars of her day like "Greta Garbo" and "Rita Hayworth" who would become recluses and go into permanent hiding after their incredible early screen beauty waned off and steady age of time set in, Tallulah would continue to be seen at public events that would in itself start the gossip hounds with talk of her ill health. Her last ever screen role was in none other than the popular comic tv show "Batman" (1966) in a two episode parter from Season 2 in 1967. Tallulah would play the villain "Black Widow" with relish and delight, vamping it up as the grand dame diva of Old Hollywood getting Batman and Robin in all sorts of trouble. Ironically one of these episodes starred Tallulah's old lover and fellow screen legend and womanizer "George Raft" as a uncredited guest appearance in a bank that "Black Widow" was robbing. Pretty sure there was a few stories that they shared onset during filming. Once filming was complete, the world would never see Tallulah on screen ever again, she looked terribly thin and unwell at this point. None of us can escape the ravages of Old Father Time, for some though it comes much sooner and I get the impression that suited Tallulah just fine. These cases are often described as the "longest suicide" cases when you see someone so full of abandonment for their own life when seemingly they have everything one could only dream of having - the tragic actor Montgomery Clift is one such actor that fits the bill of this sad decline. Tallulah now taking mixtures of dangerous cocktails of sedatives to aid her sleep was now commonplace in the 1960s, to such a point that she would instruct her maid to tape her down in bed at night to prevent her from getting up to swallow more pills. She's quoted back in 1954 talking to Tennessee Williams (no stranger himself to self harm) confessing "I'm 54, and I wish always, always for death. I've always wanted death". "Nothing else do I want more". Well on December 12th 1968, Death came to collect Tallulah from this earthly plane and the Lord would take her home to everlasting peace. She was 66 when she passed away from double pneumonia, emphysema due to excessive smoking and basic malnutrition. Her last two words she uttered from her last breath of life was a request for "codeine...bourbon". Remarkable and defiant to the end. An adult life and career lived in full-on debauchery for all to see, many would see her wander about stark naked, A great stage actress and silver screen star. She lived life at 100mph, could drink down a bottle of bourbon in less than 30 minutes and could get into the pants of any man, or woman she set her sights on even faster. The woman that coined the famous line "Dahling" with her sexy husky voice is gone, but her legend lives on forevermore as a somewhat cautionary tale of unlimited control and to know where to draw the line in the sand. Beyond doubt though, she was one of the greatest stars and sex sirens of the early half of the 20th century. *Above photo of gorgeous Tallulah in the early 1930s.
Yesterday, I had to spend quite a few hours trying to sort out a computer 'virus'. Is anyone else getting endless McAfee pop-ups, that say you have viruses found on your computer? I don't even have McAfee installed on my computer. Ran a full Norton scan of my computer and no viruses were found. Also did a Malwarebytes scan and all was well. Google says don't click on any of the pop-ups. I don't know how to stop the wretched things.
A few more odds and ends from my archives. I am adding the description that I wrote under a different image taken on the same outing.
"All parts of the plant are poisonous. However, accidental poisoning is not likely since the berries are extremely bitter. The berries are the most toxic part of the plant. A healthy adult will experience poisoning from as few as six berries. Ingestion of the berries causes nausea, dizziness, increased pulse and severe gastrointestinal discomfort. The toxins can also have an immediate sedative effect on the cardiac muscle tissue possibly leading to cardiac arrest if introduced into the bloodstream. As few as two berries may be fatal to a child. All parts of the plant contain an irritant oil that is most concentrated within the roots and berries." From Wikipedia.
"On 3 August 2019, a small group of us were lucky enough to visit two neighbouring acreages west of the city. In fact, along the road that I tend to drive along each time I drive out west. Friend, Dorothy, knows the owners of the first property we went to and had arranged for us to come and do a bioblitz on their 9.1 acres of mostly forested land. Nancy and Bill Cook have a beautiful, forested acreage and we were led along several different trails. Accompanying us was their big, black dog who was very sweet and determined to try and keep up with us, despite arthritic joints, which needed a few very brief rests. They were such welcoming and kind people and it was such a pleasure to help them learn a little more about what was growing and living around them. A juvenile Yellow-bellied Sapsucker was a surprise, and there was even an occasional fungus, including a rather fine coral fungus. We were also treated to coffee, iced tea and chocolate brownies. Thank you!
Part way through the day, we walked from their home to the neighbours, Dean & Charmaine Carton, who also knew we were coming. Their beautiful garden and 15 acres of land gave us a few lovely sightings, including a few bird species and, discovered growing on the ground inside a fire pit, a nice example of Marchantia liverwort, complete with fruiting body.
Our few hours out were greatly appreciated and enjoyed by everyone. I always think these outings are a win/win situation, with landowners gaining new knowledge plus a very detailed list of all the species found, and the rest of us always meet such lovely people and have a very enjoyable time.
Thanks so much, Nancy and Bill and your neighbours, for this experience. Thanks, as always, Dorothy and Stephen, for the ride there and back."
As the Batmobile races back into the cave, I engage the emergency alert. If there’s one way to get Alfred racing to you anywhere in the cave, it’s to use that alert.
”Alfred! I need your medical kit now!”
”What happened Master Bruce?”
”We were attacked! Ra’s already has men within the city!”
”He’s here already?”
The tone in Alfred’s voice says it all. Panic. Fear. We’d been working under the assumption that Ra’s wouldn’t be here for another two days before we’d have to engage the Endgame protocol.
”He’s….”
”Easy Talia, don’t strain yourself.”
”Did you just say…..Talia….?”
I hear Alfred’s words but I don’t respond. Not because I want to ignore him, but because in the rush to get Talia to the Batmobile her wound has been to bleed heavily again. Why hasn’t the Lazarus in her body healed it yet?
”She’s been shot in the chest Alfred, right side. She’s losing a lot of blood quickly.”
”Keep pressure on the wound, it should slow the bleeding until we can get her up to the medical bay.”
Following Alfred’s instructions, I hop back in the Batmobile and wrap the end of my cape around my hands. It’s not the cleanest thing to hand but it should help cover more of the wound, as well as soak up any blood that comes out. Alfred will need a clean wound if he’s to remove the bullet safely. Fortunately, if there’s one thing I have full confidence in it’s Alfred’s skills as surgeon. As long as you overlook the fact that he didn’t train as surgeon and is relying solely on his MI6 medical training.
Then again, he’s had plenty of practise having to remove bullets from both my armour and my person after my numerous bouts with Lawton.
”It’s going to be alright Talia. Alfred’s an expert at this stuff.”
”I thought….he was secret service….not a….surgeon….”
”No, he’s the best doctor I know.”
”Is he the only doctor you know?”
It’s only after a minute or so of silence that I’m able to even recall the name of a doctor besides Thomas Wayne. Granted I haven’t seen Leslie in nearly five years since she decided to move out of Gotham, but Talia doesn’t have to know that.
”Try to move too much, this is going to hurt.”
”The lack of an answer doesn’t help my confidence….Bruce…”
”You’ll be fine. I promise. This is going to help I’m afraid.”
Before she has a chance to protest, I begin to apply pressure to the bullet wound. Understandably, Talia lets out a loud cry of pain that echoes throughout the corners of the Batcave and boy was it deafening. I’m going to need my hearing checked after that.
”Where are you Alfred?”
Immediately, Alfred races around the corner with his medical kit in hand.
”Hold her steady. We need to sedate her in preparation for surgery.”
”Are you sure?”
”I need her sedate if I’m going to be able to remove the bullet, unless you want her moving suddenly and risking me making the wound worse?”
”Noted.”
Alfred passes me a syringe loaded with 10 ml of the sedative. As Alfred goes to grab a bandage to cover the wound I turn to face Talia. The pressure on the wound has caused her to start shaking, it’s likely her body is on the verge of going into shock. Thus to stop her from going into shock, I jab the syringe into her leg and slowly empty the contents into her body.
”It’s going to be alright Talia, it’s all going to be alright.”
”Bruce……is…..he here?”
”Who Talia?”
As Talia tries to tell something before she’s rendered unconscious by the sedative I remove my cowl to let her see my face. It’s been over a decade since she last saw my face so hopefully it’ll give her something to focus on whilst we wait for the sedative to take effect.
”Our….son…..is he here?”
”He’s here Talia. He’s here.”
”Can….I… see him?”
”I’ll make you a promise, you pull through this and I’ll introduce you, deal?”
”It’s a…..deal….”
”Talia, I need to know, what’s your father planning? What does he plan to attack first?”
”Those men….they were……a scouting party…..”
”A scouting party?”
”My father always sends agents…to weaken his enemies….a few days before he arrives…”
”There’s still time.”
”Master Bruce, we need to get on the operating table now.”
”She’s still conscious Alfred.”
”I can…make it….help me up Bruce.”
At first I feel as though I should simply let the sedative take effect and not move Talia until she’s properly sedated, but my gut instinct is to trust her and help her to her feet. With that I help her out of the Batmobile and Alfred quickly races to help me carry her up to the medical bay.
”Any news from Tim?”
”Nothing sir.”
”I want an all-points bulletin put out to him and Dick. If Ra’s is attempting to weaken me before his arrival it’s possible he’ll be going after them as well.”
”I’ll get to it as soon as possible Master Bruce, but right now we have a more pressing matter to deal with.”
We’re both well aware that at this moment Talia has to take priority. The reopened wound could prove to be fatal if she loses enough blood so we need to seal it as soon as possible. All I can do is hope that my worries for Tim and Dick aren’t justified whilst I’m helping Alfred….
Italian postcard by B.F.F. Edit., no. 2276. Photo: Paramount Films.
Alan Ladd (1913-1964) had his big break as a killer in the Film Noir This Gun For Hire (1942). Throughout the 1940s, his tough-guy roles packed audiences, but he is best known for his title role in the classic Western Shane (1953).
Alan Walbridge Ladd was born in Hot Springs, Arkansas, USA in 1913. His mother, Ina Raleigh. had emigrated from England at age 19, and his accountant father, Alan Ladd, died when his son was only four. At age five, Alan burned his apartment playing with matches, and his mother moved them to Oklahoma City, where she married Jim Beavers, a house painter. Alan was malnourished, undersized, and nicknamed 'Tiny', and the family moved to California. Alan picked fruit, delivered papers, and swept stores. In high school, he discovered track and swimming. By 1931 he was training for the 1932 Olympics, but an injury put an end to those plans. He opened a hamburger stand called Tiny's Patio and later worked as a studio carpenter (as did his stepfather) at Warner Brothers Pictures. He married his friend Midge in 1936, but couldn't afford her, so they lived apart. In 1937, they shared a friend's apartment. They had a son, Alan Ladd Jr., and his destitute alcoholic mother moved in with them, her agonizing suicide from ant poison witnessed a few months later by her son. For a short time, Ladd was part of the Universal Pictures studio school for actors. His size and blond hair were regarded by Universal as not right for movies, so he worked hard at radio. There talent scout and former actress Sue Carol discovered him early in 1939. He appeared in a string of bit parts in B-pictures - and an unbilled part as a newspaper reporter in Orson Welles' classic Citizen Kane (1941). Late in 1941, he got his big break when he tested for This Gun for Hire (Frank Tuttle, 1942) based on the novel by Graham Greene. His fourth-billed role as psychotic hitman Raven made him a star.
Alan Ladd and his co-star in This Gun for Hire, Veronica Lake, made seven films together. These included The Glass Key (Stuart Heisler, 1942), The Blue Dahlia (George Marshall 1946), and Saigon (Leslie Fenton, 1948). Ladd was drafted in January 1943 and discharged in November with an ulcer and double hernia. His cool, unsmiling tough-guys proved popular with wartime audiences, and he was one of the top box office stars of the decade. In an adaptation of Scott Fitzgerald's The Great Gatsby (Elliott Nugent, 1949), Ladd had the featured role of Jay Gatsby. Four years later he appeared in what many regard as his greatest role, Shane (George Stevens, 1953). The film was nominated for five Academy Awards, including Best Picture. From then on he was performing in lucrative but unrewarding films. By the end of the 1950s, liquor and a string of so-so films had taken their toll. In November 1962 he was found unconscious lying in a pool of blood with a bullet wound near his heart. In 1963 Ladd's career looked set to make a comeback when he filmed a supporting role in The Carpetbaggers (Edward Dmytryk, 1964), which became one of the most popular films of the year. He would not live to see its release. In January 1964 Alan Ladd was found dead, apparently due to an accidental combination of alcohol and sedatives. Ladd was only 50. He was married twice. After his divorce from Marjorie Jane Harrold in 1941, he married former film actress Sue Carol in 1942. Carol was also his agent and manager. The couple had two children, Alana Ladd and David Ladd. He was the grandfather of Jordan Ladd.
Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
A poppy is any of a number of showy flowers, typically with one per stem, belonging to the poppy family. They include a number of attractive wildflower species with showy flowers found growing singularly or in large groups.Those that are grown in gardens include large plants used in a mixed herbaceous border and small plants that are grown in rock or alpine gardens.
Papaver rhoeas is a species of flowering plant in the family Papaveraceae. It has a variety of common names, including the Corn Poppy, Field Poppy, Flanders Poppy, or Red Poppy, one of the many species and genera named poppy. The four petals are vivid red, most commonly with a black spot at their base. It is a variable annual plant, forming a long-lived soil seed bank that can germinate when the soil is disturbed. In the northern hemisphere it generally flowers in late spring, but if the weather is warm enough other flowers frequently appear at the beginning of autumn. Like many other species of its genus, it exudes a white latex when the tissues are broken.
Papavero è il nome comune di un genere (Papaver) di piante erbacee della famiglia delle Papaveraceae. Al genere appartengono 125 specie circa.Il papavero è considerato una pianta infestante. Papavero è il nome comune della specie Papaver rhoeas, comunissimo nei campi all'inizio dell'estate.
Il Papaver rhoeas, o comunemente papavero o rosolaccio, è una pianta erbacea annuale appartenente al genere Papaver. La specie, largamente diffusa in Italia, cresce normalmente in campi e sui bordi di strade e ferrovie ed è considerata una pianta infestante. Petali e semi possiedono leggere proprietà sedative.
È alta fino a 80 - 90 cm. Il fiore è rosso dai petali delicati e caduchi. Spesso macchiato di nero alla base in corrispondenza degli stami di colore nero. Il fusto è eretto, coperto di peli rigidi. Tagliato emette un liquido bianco. Foglie pennato partite sparse lungo il fusto. Il frutto è una capsula che contiene numerosi semi piccoli, reniformi e reticolati. Fuoriescono da un foro sotto lo stimma.I boccioli sono verdi a forma di oliva e penduli. Fiorisce in primavera da aprile fino a metà luglio.
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Amanita muscaria ------ Die Vergiftungserscheinungen des Fliegenpilzes werden gemeinsam mit denen des Pantherpilzes (Amanita pantherina) unter der Bezeichnung „Pantherina-Syndrom“ zusammengefasst. Die Latenzzeit wird allgemein mit ½ bis 3 Stunden angegeben. Danach treten Symptome auf, die insgesamt einem Alkoholrausch ähnlich sind: Verwirrung, Sprachstörungen, Ataxie, starke motorische Unruhe, Mydriasis, Mattigkeit. Je nach Stimmungslage stehen Angstgefühl und Depressionen, Gleichgültigkeit oder Euphorie bis hin zu seligem Glücksrausch im Vordergrund. Typisch sind weiterhin Störungen des Persönlichkeits-, Orts- und Zeitgefühls. Berichtet wird auch von einem Gefühl des Schwebens, von überdurchschnittlichen Leibeskräften, von Farbillusionen und seltener von echten Halluzinationen. Tremor, Krämpfe und klonische Muskelzuckungen werden häufig beobachtet. Ein tiefer Schlaf beendet dann meist nach 10 bis 15 Stunden das Pantherina-Syndrom. Die Patienten sind danach meist einigermaßen erholt und ohne Erinnerung an die durchgemachte Vergiftung. Nur in seltenen Fällen bleiben für einige Zeit Spätfolgen bestehen: Interessenlosigkeit, leichte Ermüdbarkeit, Gedächtnisschwäche.
Insgesamt wird deutlich, dass der Fliegenpilz nicht als Halluzinogen, sondern als Delirantium wirkt, bei dem die Einsicht in Ursache und Wirkung des Rausches verlorengegangen ist. Es treten die für Delirantia typischen Bewusstseinstrübungen und Realitätsverkennungen auf und die Überzeugung, fremde Personen seien anwesend. Die optischen Halluzinationen (falls sie überhaupt auftreten) sind nicht stark farbig, dafür treten akustische Halluzinationen auf. Typischerweise fehlt die Einsicht in die Künstlichkeit des Vorganges, die Beobachterposition und die Erinnerung an den Wirkhöhepunkt gehen verloren. --------------------------------
Amanita muscaria poisoning has occurred in young children and in people who ingested the mushrooms for a hallucinogenic experience.[12][48][49] Occasionally it has been ingested in error, because immature button forms resemble puffballs.[50] The white spots sometimes wash away during heavy rain and the mushrooms then may appear to be the edible A. caesarea.[51]
Amanita muscaria contains several biologically active agents, at least one of which, muscimol, is known to be psychoactive. Ibotenic acid, a neurotoxin, serves as a prodrug to muscimol, with approximately 10–20% converting to muscimol after ingestion. An active dose in adults is approximately 6 mg muscimol or 30 to 60 mg ibotenic acid;[52][53] this is typically about the amount found in one cap of Amanita muscaria.[54] The amount and ratio of chemical compounds per mushroom varies widely from region to region and season to season, which can further confuse the issue. Spring and summer mushrooms have been reported to contain up to 10 times more ibotenic acid and muscimol than autumn fruitings.
The wide range of psychoactive effects can be variously described as depressant, sedative-hypnotic, psychedelic, dissociative, and deliriant; paradoxical effects such as stimulation may occur however. Perceptual phenomena such as synesthesia, macropsia, and micropsia may occur. Some users report lucid dreaming under the influence of its hypnotic effects. Unlike Psilocybe cubensis, A. muscaria cannot be commercially cultivated, due to its mycorrhizal relationship with the roots of pine trees. However, following the outlawing of psilocybin mushrooms in the United Kingdom in 2006, the sale of the still legal A. muscaria began increasing.[87]
Professor Marija Gimbutas, a renowned Lithuanian historian, reported to R. Gordon Wasson on the use of this mushroom in Lithuania. In remote areas of Lithuania Amanita muscaria has been consumed at wedding feasts, in which mushrooms were mixed with vodka. The professor also reported that the Lithuanians used to export A. muscaria to the Lapps in the Far North for use in shamanic rituals. The Lithuanian festivities are the only report that Wasson received of ingestion of fly agaric for religious use in Eastern Europe.
Amanita muscaria was widely used as an entheogen by many of the indigenous peoples of Siberia. Its use was known among almost all of the Uralic-speaking peoples of western Siberia and the Paleosiberian-speaking peoples of the Russian Far East. There are only isolated reports of A. muscaria use among the Tungusic and Turkic peoples of central Siberia and it is believed that on the whole entheogenic use of A. muscaria was not practised by these peoples.[89] In western Siberia, the use of A. muscaria was restricted to shamans, who used it as an alternative method of achieving a trance state. (Normally, Siberian shamans achieve trance by prolonged drumming and dancing.) In eastern Siberia, A. muscaria was used by both shamans and laypeople alike, and was used recreationally as well as religiously.[89] In eastern Siberia, the shaman would take the mushrooms, and others would drink his urine.[90] This urine, still containing psychoactive elements, may be more potent than the A. muscaria mushrooms with fewer negative effects such as sweating and twitching, suggesting that the initial user may act as a screening filter for other components in the mushroom.[91]
The Koryak of eastern Siberia have a story about the fly agaric (wapaq) which enabled Big Raven to carry a whale to its home. In the story, the deity Vahiyinin ("Existence") spat onto earth, and his spittle became the wapaq, and his saliva becomes the warts. After experiencing the power of the wapaq, Raven was so exhilarated that he told it to grow forever on earth so his children, the people, could learn from it.[92] Among the Koryaks, one report said that the poor would consume the urine of the wealthy, who could afford to buy the mushrooms. -------------------------------------------------------------
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Almost 700 years ago, Spanish explorers discovered passionflower in Peru. They believed the flowers symbolized Christ’s passion (the corona resembles the crown of thorns worn by Jesus during the crucifixion) and indicated his approval for their exploration.
Passionflower is found in combination herbal products used as a sedative for promoting calmness and relaxation.
PS: Due to ~2 meters height I couldn’t able to focus very well on the centre of the flower with my pocket camera. But still, hope you could able to experience the beauties of the nature..!
Saying goodbye to Dottie. I made the appointment last night. I am very sad and upset and was hoping she would pass away on her own. But for at least a year she has had accidents inside and I am up several times a night with her. I didn’t want to have to decide the day. I wanted her to make it to October 16, because that is when we adopted her in 2011. They said she was around 8 at that time. I can’t stop crying.
Vladimir Semyonovich Vysotsky (Russian: Владимир Семёнович Высоцкий, IPA: [vlɐˈdʲimʲɪr sʲɪˈmʲɵnəvʲɪtɕ vɨˈsotskʲɪj]; 25 January 1938 – 25 July 1980), was a Soviet singer-songwriter, poet, and actor who had an immense and enduring effect on Soviet culture. He became widely known for his unique singing style and for his lyrics, which featured social and political commentary in often humorous street-jargon. He was also a prominent stage- and screen-actor. Though the official Soviet cultural establishment largely ignored his work, he was remarkably popular during his lifetime, and to this day exerts significant influence on many of Russia's musicians and actors.
Vysotsky was born in Moscow at the 3rd Meshchanskaya St. (61/2) maternity hospital. His father, Semyon Volfovich (Vladimirovich) (1915–1997), was a colonel in the Soviet army, originally from Kiev. Vladimir's mother, Nina Maksimovna, (née Seryogina, 1912–2003) was Russian, and worked as a German language translator.[3] Vysotsky's family lived in a Moscow communal flat in harsh conditions, and had serious financial difficulties. When Vladimir was 10 months old, Nina had to return to her office in the Transcript bureau of the Soviet Ministry of Geodesy and Cartography (engaged in making German maps available for the Soviet military) so as to help her husband earn their family's living.
Vladimir's theatrical inclinations became obvious at an early age, and were supported by his paternal grandmother Dora Bronshteyn, a theater fan. The boy used to recite poems, standing on a chair and "flinging hair backwards, like a real poet," often using in his public speeches expressions he could hardly have heard at home. Once, at the age of two, when he had tired of the family's guests' poetry requests, he, according to his mother, sat himself under the New-year tree with a frustrated air about him and sighed: "You silly tossers! Give a child some respite!" His sense of humor was extraordinary, but often baffling for people around him. A three-year-old could jeer his father in a bathroom with unexpected poetic improvisation ("Now look what's here before us / Our goat's to shave himself!") or appall unwanted guests with some street folk song, promptly steering them away. Vysotsky remembered those first three years of his life in the autobiographical Ballad of Childhood (Баллада о детстве, 1975), one of his best-known songs.
As World War II broke out, Semyon Vysotsky, a military reserve officer, joined the Soviet army and went to fight the Nazis. Nina and Vladimir were evacuated to the village of Vorontsovka, in Orenburg Oblast where the boy had to spend six days a week in a kindergarten and his mother worked for twelve hours a day in a chemical factory. In 1943, both returned to their Moscow apartment at 1st Meschanskaya St., 126. In September 1945, Vladimir joined the 1st class of the 273rd Moscow Rostokino region School.
In December 1946, Vysotsky's parents divorced. From 1947 to 1949, Vladimir lived with Semyon Vladimirovich (then an army Major) and his Armenian wife, Yevgenya Stepanovna Liholatova, whom the boy called "aunt Zhenya", at a military base in Eberswalde in the Soviet-occupied zone of Germany (later East Germany). "We decided that our son would stay with me. Vladimir came to stay with me in January 1947, and my second wife, Yevgenia, became Vladimir's second mother for many years to come. They had much in common and liked each other, which made me really happy," Semyon Vysotsky later remembered. Here living conditions, compared to those of Nina's communal Moscow flat, were infinitely better; the family occupied the whole floor of a two-storeyed house, and the boy had a room to himself for the first time in his life. In 1949 along with his stepmother Vladimir returned to Moscow. There he joined the 5th class of the Moscow 128th School and settled at Bolshoy Karetny [ru], 15 (where they had to themselves two rooms of a four-roomed flat), with "auntie Zhenya" (who was just 28 at the time), a woman of great kindness and warmth whom he later remembered as his second mother. In 1953 Vysotsky, now much interested in theater and cinema, joined the Drama courses led by Vladimir Bogomolov.[7] "No one in my family has had anything to do with arts, no actors or directors were there among them. But my mother admired theater and from the earliest age... each and every Saturday I've been taken up with her to watch one play or the other. And all of this, it probably stayed with me," he later reminisced. The same year he received his first ever guitar, a birthday present from Nina Maksimovna; a close friend, bard and a future well-known Soviet pop lyricist Igor Kokhanovsky taught him basic chords. In 1955 Vladimir re-settled into his mother's new home at 1st Meshchanskaya, 76. In June of the same year he graduated from school with five A's.
In 1955, Vladimir enrolled into the Moscow State University of Civil Engineering, but dropped out after just one semester to pursue an acting career. In June 1956 he joined Boris Vershilov's class at the Moscow Art Theatre Studio-Institute. It was there that he met the 3rd course student Iza Zhukova who four years later became his wife; soon the two lovers settled at the 1st Meschanskaya flat, in a common room, shielded off by a folding screen. It was also in the Studio that Vysotsky met Bulat Okudzhava for the first time, an already popular underground bard. He was even more impressed by his Russian literature teacher Andrey Sinyavsky who along with his wife often invited students to his home to stage improvised disputes and concerts. In 1958 Vysotsky's got his first Moscow Art Theatre role: that of Porfiry Petrovich in Dostoyevsky's Crime and Punishment. In 1959 he was cast in his first cinema role, that of student Petya in Vasily Ordynsky's The Yearlings (Сверстницы). On 20 June 1960, Vysotsky graduated from the MAT theater institute and joined the Moscow Pushkin Drama Theatre (led by Boris Ravenskikh at the time) where he spent (with intervals) almost three troubled years. These were marred by numerous administrative sanctions, due to "lack of discipline" and occasional drunken sprees which were a reaction, mainly, to the lack of serious roles and his inability to realise his artistic potential. A short stint in 1962 at the Moscow Theater of Miniatures (administered at the time by Vladimir Polyakov) ended with him being fired, officially "for a total lack of sense of humour."
Vysotsky's second and third films, Dima Gorin's Career and 713 Requests Permission to Land, were interesting only for the fact that in both he had to be beaten up (in the first case by Aleksandr Demyanenko). "That was the way cinema greeted me," he later jokingly remarked. In 1961, Vysotsky wrote his first ever proper song, called "Tattoo" (Татуировка), which started a long and colourful cycle of artfully stylized criminal underworld romantic stories, full of undercurrents and witty social comments. In June 1963, while shooting Penalty Kick (directed by Veniamin Dorman and starring Mikhail Pugovkin), Vysotsky used the Gorky Film Studio to record an hour-long reel-to-reel cassette of his own songs; copies of it quickly spread and the author's name became known in Moscow and elsewhere (although many of these songs were often being referred to as either "traditional" or "anonymous"). Just several months later Riga-based chess grandmaster Mikhail Tal was heard praising the author of "Bolshoy Karetny" (Большой Каретный) and Anna Akhmatova (in a conversation with Joseph Brodsky) was quoting Vysotsky's number "I was the soul of a bad company..." taking it apparently for some brilliant piece of anonymous street folklore. In October 1964 Vysotsky recorded in chronological order 48 of his own songs, his first self-made Complete works of... compilation, which boosted his popularity as a new Moscow folk underground star.
In 1964, director Yuri Lyubimov invited Vysotsky to join the newly created Taganka Theatre. "'I've written some songs of my own. Won't you listen?' – he asked. I agreed to listen to just one of them, expecting our meeting to last for no more than five minutes. Instead I ended up listening to him for an entire 1.5 hours," Lyubimov remembered years later of this first audition. On 19 September 1964, Vysotsky debuted in Bertolt Brecht's The Good Person of Szechwan as the Second God (not to count two minor roles). A month later he came on stage as a dragoon captain (Bela's father) in Lermontov's A Hero of Our Time. It was in Taganka that Vysotsky started to sing on stage; the War theme becoming prominent in his musical repertoire. In 1965 Vysotsky appeared in the experimental Poet and Theater (Поэт и Театр, February) show, based on Andrey Voznesensky's work and then Ten Days that Shook the World (after John Reed's book, April) and was commissioned by Lyubimov to write songs exclusively for Taganka's new World War II play. The Fallen and the Living (Павшие и Живые), premiered in October 1965, featured Vysotsky's "Stars" (Звёзды), "The Soldiers of Heeresgruppe Mitte" (Солдаты группы "Центр") and "Penal Battalions" (Штрафные батальоны), the striking examples of a completely new kind of a war song, never heard in his country before. As veteran screenwriter Nikolay Erdman put it (in conversation with Lyubimov), "Professionally, I can well understand how Mayakovsky or Seryozha Yesenin were doing it. How Volodya Vysotsky does it is totally beyond me." With his songs – in effect, miniature theatrical dramatizations (usually with a protagonist and full of dialogues), Vysotsky instantly achieved such level of credibility that real life former prisoners, war veterans, boxers, footballers refused to believe that the author himself had never served his time in prisons and labor camps, or fought in the War, or been a boxing/football professional. After the second of the two concerts at the Leningrad Molecular Physics institute (that was his actual debut as a solo musical performer) Vysotsky left a note for his fans in a journal which ended with words: "Now that you've heard all these songs, please, don't you make a mistake of mixing me with my characters, I am not like them at all. With love, Vysotsky, 20 April 1965, XX c." Excuses of this kind he had to make throughout his performing career. At least one of Vysotsky's song themes – that of alcoholic abuse – was worryingly autobiographical, though. By the time his breakthrough came in 1967, he'd suffered several physical breakdowns and once was sent (by Taganka's boss) to a rehabilitation clinic, a visit he on several occasions repeated since.
Brecht's Life of Galileo (premiered on 17 May 1966), transformed by Lyubimov into a powerful allegory of Soviet intelligentsia's set of moral and intellectual dilemmas, brought Vysotsky his first leading theater role (along with some fitness lessons: he had to perform numerous acrobatic tricks on stage). Press reaction was mixed, some reviewers disliked the actor's overt emotionalism, but it was for the first time ever that Vysotsky's name appeared in Soviet papers. Film directors now were treating him with respect. Viktor Turov's war film I Come from the Childhood where Vysotsky got his first ever "serious" (neither comical, nor villainous) role in cinema, featured two of his songs: a spontaneous piece called "When It's Cold" (Холода) and a dark, Unknown soldier theme-inspired classic "Common Graves" (На братских могилах), sung behind the screen by the legendary Mark Bernes.
Stanislav Govorukhin and Boris Durov's The Vertical (1967), a mountain climbing drama, starring Vysotsky (as Volodya the radioman), brought him all-round recognition and fame. Four of the numbers used in the film (including "Song of a Friend [fi]" (Песня о друге), released in 1968 by the Soviet recording industry monopolist Melodiya disc to become an unofficial hit) were written literally on the spot, nearby Elbrus, inspired by professional climbers' tales and one curious hotel bar conversation with a German guest who 25 years ago happened to climb these very mountains in a capacity of an Edelweiss division fighter. Another 1967 film, Kira Muratova's Brief Encounters featured Vysotsky as the geologist Maxim (paste-bearded again) with a now trademark off-the-cuff musical piece, a melancholy improvisation called "Things to Do" (Дела). All the while Vysotsky continued working hard at Taganka, with another important role under his belt (that of Mayakovsky or, rather one of the latter character's five different versions) in the experimental piece called Listen! (Послушайте!), and now regularly gave semi-official concerts where audiences greeted him as a cult hero.
In the end of 1967 Vysotsky got another pivotal theater role, that of Khlopusha [ru] in Pugachov (a play based on a poem by Sergei Yesenin), often described as one of Taganka's finest. "He put into his performance all the things that he excelled at and, on the other hand, it was Pugachyov that made him discover his own potential," – Soviet critic Natalya Krymova wrote years later. Several weeks after the premiere, infuriated by the actor's increasing unreliability triggered by worsening drinking problems, Lyubimov fired him – only to let him back again several months later (and thus begin the humiliating sacked-then-pardoned routine which continued for years). In June 1968 a Vysotsky-slagging campaign was launched in the Soviet press. First Sovetskaya Rossiya commented on the "epidemic spread of immoral, smutty songs," allegedly promoting "criminal world values, alcoholism, vice and immorality" and condemned their author for "sowing seeds of evil." Then Komsomolskaya Pravda linked Vysotsky with black market dealers selling his tapes somewhere in Siberia. Composer Dmitry Kabalevsky speaking from the Union of Soviet Composers' Committee tribune criticised the Soviet radio for giving an ideologically dubious, "low-life product" like "Song of a Friend" (Песня о друге) an unwarranted airplay. Playwright Alexander Stein who in his Last Parade play used several of Vysotsky's songs, was chastised by a Ministry of Culture official for "providing a tribune for this anti-Soviet scum." The phraseology prompted commentators in the West to make parallels between Vysotsky and Mikhail Zoschenko, another Soviet author who'd been officially labeled "scum" some 20 years ago.
Two of Vysotsky's 1968 films, Gennady Poloka's Intervention (premiered in May 1987) where he was cast as Brodsky, a dodgy even if highly artistic character, and Yevgeny Karelov's Two Comrades Were Serving (a gun-toting White Army officer Brusentsov who in the course of the film shoots his friend, his horse, Oleg Yankovsky's good guy character and, finally himself) – were severely censored, first of them shelved for twenty years. At least four of Vysotsky's 1968 songs, "Save Our Souls" (Спасите наши души), "The Wolfhunt" (Охота на волков), "Gypsy Variations" (Моя цыганская) and "The Steam-bath in White" (Банька по-белому), were hailed later as masterpieces. It was at this point that 'proper' love songs started to appear in Vysotsky's repertoire, documenting the beginning of his passionate love affair with French actress Marina Vlady.
In 1969 Vysotsky starred in two films: The Master of Taiga where he played a villainous Siberian timber-floating brigadier, and more entertaining Dangerous Tour. The latter was criticized in the Soviet press for taking a farcical approach to the subject of the Bolshevik underground activities but for a wider Soviet audience this was an important opportunity to enjoy the charismatic actor's presence on big screen. In 1970, after visiting the dislodged Soviet leader Nikita Khrushchev at his dacha and having a lengthy conversation with him, Vysotsky embarked on a massive and by Soviet standards dangerously commercial concert tour in Soviet Central Asia and then brought Marina Vlady to director Viktor Turov's place so as to investigate her Belarusian roots. The pair finally wed on 1 December 1970 (causing furore among the Moscow cultural and political elite) and spent a honeymoon in Georgia. This was the highly productive period for Vysotsky, resulting in numerous new songs, including the anthemic "I Hate" (Я не люблю), sentimental "Lyricale" (Лирическая) and dramatic war epics "He Didn't Return from the Battle" (Он не вернулся из боя) and "The Earth Song" (Песня о Земле) among many others.
In 1971 a drinking spree-related nervous breakdown brought Vysotsky to the Moscow Kashchenko clinic [ru]. By this time he has been suffering from alcoholism. Many of his songs from this period deal, either directly or metaphorically, with alcoholism and insanity. Partially recovered (due to the encouraging presence of Marina Vladi), Vysotsky embarked on a successful Ukrainian concert tour and wrote a cluster of new songs. On 29 November 1971 Taganka's Hamlet premiered, a groundbreaking Lyubimov's production with Vysotsky in the leading role, that of a lone intellectual rebel, rising to fight the cruel state machine.
Also in 1971 Vysotsky was invited to play the lead in The Sannikov Land, the screen adaptation of Vladimir Obruchev's science fiction,[47] which he wrote several songs for, but was suddenly dropped for the reason of his face "being too scandalously recognisable" as a state official put it. One of the songs written for the film, a doom-laden epic allegory "Capricious Horses" (Кони привередливые), became one of the singer's signature tunes. Two of Vysotsky's 1972 film roles were somewhat meditative: an anonymous American journalist in The Fourth One and the "righteous guy" von Koren in The Bad Good Man (based on Anton Chekov's Duel). The latter brought Vysotsky the Best Male Role prize at the V Taormina Film Fest. This philosophical slant rubbed off onto some of his new works of the time: "A Singer at the Microphone" (Певец у микрофона), "The Tightrope Walker" (Канатоходец), two new war songs ("We Spin the Earth", "Black Pea-Coats") and "The Grief" (Беда), a folkish girl's lament, later recorded by Marina Vladi and subsequently covered by several female performers. Popular proved to be his 1972 humorous songs: "Mishka Shifman" (Мишка Шифман), satirizing the leaving-for-Israel routine, "Victim of the Television" which ridiculed the concept of "political consciousness," and "The Honour of the Chess Crown" (Честь шахматной короны) about an ever-fearless "simple Soviet man" challenging the much feared American champion Bobby Fischer to a match.
In 1972 he stepped up in Soviet Estonian TV where he presented his songs and gave an interview. The name of the show was "Young Man from Taganka" (Noormees Tagankalt).
In April 1973 Vysotsky visited Poland and France. Predictable problems concerning the official permission were sorted after the French Communist Party leader Georges Marchais made a personal phone call to Leonid Brezhnev who, according to Marina Vlady's memoirs, rather sympathized with the stellar couple. Having found on return a potentially dangerous lawsuit brought against him (concerning some unsanctioned concerts in Siberia the year before), Vysotsky wrote a defiant letter to the Minister of Culture Pyotr Demichev. As a result, he was granted the status of a philharmonic artist, 11.5 roubles per concert now guaranteed. Still the 900 rubles fine had to be paid according to the court verdict, which was a substantial sum, considering his monthly salary at the theater was 110 rubles. That year Vysotsky wrote some thirty songs for "Alice in Wonderland," an audioplay where he himself has been given several minor roles. His best known songs of 1973 included "The Others' Track" (Чужая колея), "The Flight Interrupted" (Прерванный полёт) and "The Monument", all pondering on his achievements and legacy.
In 1974 Melodiya released the 7" EP, featuring four of Vysotsky's war songs ("He Never Returned From the Battle", "The New Times Song", "Common Graves", and "The Earth Song") which represented a tiny portion of his creative work, owned by millions on tape. In September of that year Vysotsky received his first state award, the Honorary Diploma of the Uzbek SSR following a tour with fellow actors from the Taganka Theatre in Uzbekistan. A year later he was granted the USSR Union of Cinematographers' membership. This meant he was not an "anti-Soviet scum" now, rather an unlikely link between the official Soviet cinema elite and the "progressive-thinking artists of the West." More films followed, among them The Only Road (a Soviet-Yugoslav joint venture, premiered on 10 January 1975 in Belgrade) and a science fiction movie The Flight of Mr. McKinley (1975). Out of nine ballads that he wrote for the latter only two have made it into the soundtrack. This was the height of his popularity, when, as described in Vlady's book about her husband, walking down the street on a summer night, one could hear Vysotsky's recognizable voice coming literally from every open window. Among the songs written at the time, were humorous "The Instruction before the Trip Abroad", lyrical "Of the Dead Pilot" and philosophical "The Strange House". In 1975 Vysotsky made his third trip to France where he rather riskily visited his former tutor (and now a celebrated dissident emigre) Andrey Sinyavsky. Artist Mikhail Shemyakin, his new Paris friend (or a "bottle-sharer", in Vladi's terms), recorded Vysotsky in his home studio. After a brief stay in England Vysotsky crossed the ocean and made his first Mexican concerts in April. Back in Moscow, there were changes at Taganka: Lyubimov went to Milan's La Scala on a contract and Anatoly Efros has been brought in, a director of radically different approach. His project, Chekhov's The Cherry Orchard, caused a sensation. Critics praised Alla Demidova (as Ranevskaya) and Vysotsky (as Lopakhin) powerful interplay, some describing it as one of the most dazzling in the history of the Soviet theater. Lyubimov, who disliked the piece, accused Efros of giving his actors "the stardom malaise." The 1976 Taganka's visit to Bulgaria resulted in Vysotskys's interview there being filmed and 15 songs recorded by Balkanton record label. On return Lyubimov made a move which many thought outrageous: declaring himself "unable to work with this Mr. Vysotsky anymore" he gave the role of Hamlet to Valery Zolotukhin, the latter's best friend. That was the time, reportedly, when stressed out Vysotsky started taking amphetamines.
Another Belorussian voyage completed, Marina and Vladimir went for France and from there (without any official permission given, or asked for) flew to the North America. In New York Vysotsky met, among other people, Mikhail Baryshnikov and Joseph Brodsky. In a televised one-hour interview with Dan Rather he stressed he was "not a dissident, just an artist, who's never had any intentions to leave his country where people loved him and his songs." At home this unauthorized venture into the Western world bore no repercussions: by this time Soviet authorities were divided as regards the "Vysotsky controversy" up to the highest level; while Mikhail Suslov detested the bard, Brezhnev loved him to such an extent that once, while in hospital, asked him to perform live in his daughter Galina's home, listening to this concert on the telephone. In 1976 appeared "The Domes", "The Rope" and the "Medieval" cycle, including "The Ballad of Love".
In September Vysotsky with Taganka made a trip to Yugoslavia where Hamlet won the annual BITEF festival's first prize, and then to Hungary for a two-week concert tour. Back in Moscow Lyubimov's production of The Master & Margarita featured Vysotsky as Ivan Bezdomny; a modest role, somewhat recompensed by an important Svidrigailov slot in Yury Karyakin's take on Dostoevsky's Crime and Punishment. Vysotsky's new songs of this period include "The History of Illness" cycle concerning his health problems, humorous "Why Did the Savages Eat Captain Cook", the metaphorical "Ballad of the Truth and the Lie", as well as "Two Fates", the chilling story of a self-absorbed alcoholic hunted by two malevolent witches, his two-faced destiny. In 1977 Vysotsky's health deteriorated (heart, kidneys, liver failures, jaw infection and nervous breakdown) to such an extent that in April he found himself in Moscow clinic's reanimation center in the state of physical and mental collapse.
In 1977 Vysotsky made an unlikely appearance in New York City on the American television show 60 Minutes, which falsely stated that Vysotsky had spent time in the Soviet prison system, the Gulag. That year saw the release of three Vysotsky's LPs in France (including the one that had been recorded by RCA in Canada the previous year); arranged and accompanied by guitarist Kostya Kazansky, the singer for the first time ever enjoyed the relatively sophisticated musical background. In August he performed in Hollywood before members of New York City film cast and (according to Vladi) was greeted warmly by the likes of Liza Minnelli and Robert De Niro. Some more concerts in Los Angeles were followed by the appearance at the French Communist paper L’Humanité annual event. In December Taganka left for France, its Hamlet (Vysotsky back in the lead) gaining fine reviews.
1978 started with the March–April series of concerts in Moscow and Ukraine. In May Vysotsky embarked upon a new major film project: The Meeting Place Cannot Be Changed (Место встречи изменить нельзя) about two detectives fighting crime in late 1940s Russia, directed by Stanislav Govorukhin. The film (premiered on 11 November 1978 on the Soviet Central TV) presented Vysotsky as Zheglov, a ruthless and charismatic cop teaching his milder partner Sharapov (actor Vladimir Konkin) his art of crime-solving. Vysotsky also became engaged in Taganka's Genre-seeking show (performing some of his own songs) and played Aleksander Blok in Anatoly Efros' The Lady Stranger (Незнакомка) radio play (premiered on air on 10 July 1979 and later released as a double LP).
In November 1978 Vysotsky took part in the underground censorship-defying literary project Metropolis, inspired and organized by Vasily Aksenov. In January 1979 Vysotsky again visited America with highly successful series of concerts. That was the point (according to biographer Vladimir Novikov) when a glimpse of new, clean life of a respectable international actor and performer all but made Vysotsky seriously reconsider his priorities. What followed though, was a return to the self-destructive theater and concert tours schedule, personal doctor Anatoly Fedotov now not only his companion, but part of Taganka's crew. "Who was this Anatoly? Just a man who in every possible situation would try to provide drugs. And he did provide. In such moments Volodya trusted him totally," Oksana Afanasyeva, Vysotsky's Moscow girlfriend (who was near him for most of the last year of his life and, on occasion, herself served as a drug courier) remembered. In July 1979, after a series of Central Asia concerts, Vysotsky collapsed, experienced clinical death and was resuscitated by Fedotov (who injected caffeine into the heart directly), colleague and close friend Vsevolod Abdulov helping with heart massage. In January 1980 Vysotsky asked Lyubimov for a year's leave. "Up to you, but on condition that Hamlet is yours," was the answer. The songwriting showed signs of slowing down, as Vysotsky began switching from songs to more conventional poetry. Still, of nearly 800 poems by Vysotsky only one has been published in the Soviet Union while he was alive. Not a single performance or interview was broadcast by the Soviet television in his lifetime.
In May 1979, being in a practice studio of the MSU Faculty of Journalism, Vysotsky recorded a video letter to American actor and film producer Warren Beatty, looking for both a personal meeting with Beatty and an opportunity to get a role in Reds film, to be produced and directed by the latter. While recording, Vysotsky made a few attempts to speak English, trying to overcome the language barrier. This video letter never reached Beatty. It was broadcast for the first time more than three decades later, on the night of 24 January 2013 (local time) by Rossiya 1 channel, along with records of TV channels of Italy, Mexico, Poland, USA and from private collections, in Vladimir Vysotsky. A letter to Warren Beatty film by Alexander Kovanovsky and Igor Rakhmanov. While recording this video, Vysotsky had a rare opportunity to perform for a camera, being still unable to do it with Soviet television.
On 22 January 1980, Vysotsky entered the Moscow Ostankino TV Center to record his one and only studio concert for the Soviet television. What proved to be an exhausting affair (his concentration lacking, he had to plod through several takes for each song) was premiered on the Soviet TV eight years later. The last six months of his life saw Vysotsky appearing on stage sporadically, fueled by heavy dosages of drugs and alcohol. His performances were often erratic. Occasionally Vysotsky paid visits to Sklifosofsky [ru] institute's ER unit, but would not hear of Marina Vlady's suggestions for him to take long-term rehabilitation course in a Western clinic. Yet he kept writing, mostly poetry and even prose, but songs as well. The last song he performed was the agonizing "My Sorrow, My Anguish" and his final poem, written one week prior to his death was "A Letter to Marina": "I'm less than fifty, but the time is short / By you and God protected, life and limb / I have a song or two to sing before the Lord / I have a way to make my peace with him."
Although several theories of the ultimate cause of the singer's death persist to this day, given what is now known about cardiovascular disease, it seems likely that by the time of his death Vysotsky had an advanced coronary condition brought about by years of tobacco, alcohol and drug abuse, as well as his grueling work schedule and the stress of the constant harassment by the government. Towards the end, most of Vysotsky's closest friends had become aware of the ominous signs and were convinced that his demise was only a matter of time. Clear evidence of this can be seen in a video ostensibly shot by the Japanese NHK channel only months before Vysotsky's death, where he appears visibly unwell, breathing heavily and slurring his speech. Accounts by Vysotsky's close friends and colleagues concerning his last hours were compiled in the book by V. Perevozchikov.
Vysotsky suffered from alcoholism for most of his life. Sometime around 1977, he started using amphetamines and other prescription narcotics in an attempt to counteract the debilitating hangovers and eventually to rid himself of alcohol addiction. While these attempts were partially successful, he ended up trading alcoholism for a severe drug dependency that was fast spiralling out of control. He was reduced to begging some of his close friends in the medical profession for supplies of drugs, often using his acting skills to collapse in a medical office and imitate a seizure or some other condition requiring a painkiller injection. On 25 July 1979 (a year to the day before his death) he suffered a cardiac arrest and was clinically dead for several minutes during a concert tour of Soviet Uzbekistan, after injecting himself with a wrong kind of painkiller he had previously obtained from a dentist's office.
Fully aware of the dangers of his condition, Vysotsky made several attempts to cure himself of his addiction. He underwent an experimental (and ultimately discredited) blood purification procedure offered by a leading drug rehabilitation specialist in Moscow. He also went to an isolated retreat in France with his wife Marina in the spring of 1980 as a way of forcefully depriving himself of any access to drugs. After these attempts failed, Vysotsky returned to Moscow to find his life in an increasingly stressful state of disarray. He had been a defendant in two criminal trials, one for a car wreck he had caused some months earlier, and one for an alleged conspiracy to sell unauthorized concert tickets (he eventually received a suspended sentence and a probation in the first case, and the charges in the second were dismissed, although several of his co-defendants were found guilty). He also unsuccessfully fought the film studio authorities for the rights to direct a movie called The Green Phaeton. Relations with his wife Marina were deteriorating, and he was torn between his loyalty to her and his love for his mistress Oksana Afanasyeva. He had also developed severe inflammation in one of his legs, making his concert performances extremely challenging.
In a final desperate attempt to overcome his drug addiction, partially prompted by his inability to obtain drugs through his usual channels (the authorities had imposed a strict monitoring of the medical institutions to prevent illicit drug distribution during the 1980 Olympics), he relapsed into alcohol and went on a prolonged drinking binge (apparently consuming copious amounts of champagne due to a prevalent misconception at the time that it was better than vodka at countering the effects of drug withdrawal).
On 3 July 1980, Vysotsky gave a performance at a suburban Moscow concert hall. One of the stage managers recalls that he looked visibly unhealthy ("gray-faced", as she puts it) and complained of not feeling too good, while another says she was surprised by his request for champagne before the start of the show, as he had always been known for completely abstaining from drink before his concerts. On 16 July Vysotsky gave his last public concert in Kaliningrad. On 18 July, Vysotsky played Hamlet for the last time at the Taganka Theatre. From around 21 July, several of his close friends were on a round-the-clock watch at his apartment, carefully monitoring his alcohol intake and hoping against all odds that his drug dependency would soon be overcome and they would then be able to bring him back from the brink. The effects of drug withdrawal were clearly getting the better of him, as he got increasingly restless, moaned and screamed in pain, and at times fell into memory lapses, failing to recognize at first some of his visitors, including his son Arkadiy. At one point, Vysotsky's personal physician A. Fedotov (the same doctor who had brought him back from clinical death a year earlier in Uzbekistan) attempted to sedate him, inadvertently causing asphyxiation from which he was barely saved. On 24 July, Vysotsky told his mother that he thought he was going to die that day, and then made similar remarks to a few of the friends present at the apartment, who begged him to stop such talk and keep his spirits up. But soon thereafter, Oksana Afanasyeva saw him clench his chest several times, which led her to suspect that he was genuinely suffering from a cardiovascular condition. She informed Fedotov of this but was told not to worry, as he was going to monitor Vysotsky's condition all night. In the evening, after drinking relatively small amounts of alcohol, the moaning and groaning Vysotsky was sedated by Fedotov, who then sat down on the couch next to him but fell asleep. Fedotov awoke in the early hours of 25 July to an unusual silence and found Vysotsky dead in his bed with his eyes wide open, apparently of a myocardial infarction, as he later certified. This was contradicted by Fedotov's colleagues, Sklifosovsky Emergency Medical Institute physicians L. Sul'povar and S. Scherbakov (who had demanded the actor's immediate hospitalization on 23 July but were allegedly rebuffed by Fedotov), who insisted that Fedotov's incompetent sedation combined with alcohol was what killed Vysotsky. An autopsy was prevented by Vysotsky's parents (who were eager to have their son's drug addiction remain secret), so the true cause of death remains unknown.
No official announcement of the actor's death was made, only a brief obituary appeared in the Moscow newspaper Vechernyaya Moskva, and a note informing of Vysotsky's death and cancellation of the Hamlet performance was put out at the entrance to the Taganka Theatre (the story goes that not a single ticket holder took advantage of the refund offer). Despite this, by the end of the day, millions had learned of Vysotsky's death. On 28 July, he lay in state at the Taganka Theatre. After a mourning ceremony involving an unauthorized mass gathering of unprecedented scale, Vysotsky was buried at the Vagankovskoye Cemetery in Moscow. The attendance at the Olympic events dropped noticeably on that day, as scores of spectators left to attend the funeral. Tens of thousands of people lined the streets to catch a glimpse of his coffin.
According to author Valery Perevozchikov part of the blame for his death lay with the group of associates who surrounded him in the last years of his life. This inner circle were all people under the influence of his strong character, combined with a material interest in the large sums of money his concerts earned. This list included Valerii Yankelovich, manager of the Taganka Theatre and prime organiser of his non-sanctioned concerts; Anatoly Fedotov, his personal doctor; Vadim Tumanov, gold prospector (and personal friend) from Siberia; Oksana Afanasyeva (later Yarmolnik), his mistress the last three years of his life; Ivan Bortnik, a fellow actor; and Leonid Sul'povar, a department head at the Sklifosovski hospital who was responsible for much of the supply of drugs.
Vysotsky's associates had all put in efforts to supply his drug habit, which kept him going in the last years of his life. Under their influence, he was able to continue to perform all over the country, up to a week before his death. Due to illegal (i.e. non-state-sanctioned) sales of tickets and other underground methods, these concerts pulled in sums of money unimaginable in Soviet times, when almost everyone received nearly the same small salary. The payouts and gathering of money were a constant source of danger, and Yankelovich and others were needed to organise them.
Some money went to Vysotsky, the rest was distributed amongst this circle. At first this was a reasonable return on their efforts; however, as his addiction progressed and his body developed resistance, the frequency and amount of drugs needed to keep Vysotsky going became unmanageable. This culminated at the time of the Moscow Olympics which coincided with the last days of his life, when supplies of drugs were monitored more strictly than usual, and some of the doctors involved in supplying Vysotsky were already behind bars (normally the doctors had to account for every ampule, thus drugs were transferred to an empty container, while the patients received a substitute or placebo instead). In the last few days Vysotsky became uncontrollable, his shouting could be heard all over the apartment building on Malaya Gruzinskaya St. where he lived amongst VIP's. Several days before his death, in a state of stupor he went on a high speed drive around Moscow in an attempt to obtain drugs and alcohol – when many high-ranking people saw him. This increased the likelihood of him being forcibly admitted to the hospital, and the consequent danger to the circle supplying his habit. As his state of health declined, and it became obvious that he might die, his associates gathered to decide what to do with him. They came up with no firm decision. They did not want him admitted officially, as his drug addiction would become public and they would fall under suspicion, although some of them admitted that any ordinary person in his condition would have been admitted immediately.
On Vysotsky's death his associates and relatives put in much effort to prevent a post-mortem being carried out. This despite the fairly unusual circumstances: he died aged 42 under heavy sedation with an improvised cocktail of sedatives and stimulants, including the toxic chloral hydrate, provided by his personal doctor who had been supplying him with narcotics the previous three years. This doctor, being the only one present at his side when death occurred, had a few days earlier been seen to display elementary negligence in treating the sedated Vysotsky. On the night of his death, Arkadii Vysotsky (his son), who tried to visit his father in his apartment, was rudely refused entry by Yankelovich, even though there was a lack of people able to care for him. Subsequently, the Soviet police commenced a manslaughter investigation which was dropped due to the absence of evidence taken at the time of death.
Vysotsky's first wife was Iza Zhukova. They met in 1956, being both MAT theater institute students, lived for some time at Vysotsky's mother's flat in Moscow, after her graduation (Iza was 2 years older) spent months in different cities (her – in Kiev, then Rostov) and finally married on 25 April 1960.
He met his second wife Lyudmila Abramova in 1961, while shooting the film 713 Requests Permission to Land. They married in 1965 and had two sons, Arkady (born 1962) and Nikita (born 1964).
While still married to Lyudmila Abramova, Vysotsky began a romantic relationship with Tatyana Ivanenko, a Taganka actress, then, in 1967 fell in love with Marina Vlady, a French actress of Russian descent, who was working at Mosfilm on a joint Soviet-French production at that time. Marina had been married before and had three children, while Vladimir had two. They were married in 1969. For 10 years the two maintained a long-distance relationship as Marina compromised her career in France to spend more time in Moscow, and Vladimir's friends pulled strings for him to be allowed to travel abroad to stay with his wife. Marina eventually joined the Communist Party of France, which essentially gave her an unlimited-entry visa into the Soviet Union, and provided Vladimir with some immunity against prosecution by the government, which was becoming weary of his covertly anti-Soviet lyrics and his odds-defying popularity with the masses. The problems of his long-distance relationship with Vlady inspired several of Vysotsky's songs.
In the autumn of 1981 Vysotsky's first collection of poetry was officially published in the USSR, called The Nerve (Нерв). Its first edition (25,000 copies) was sold out instantly. In 1982 the second one followed (100,000), then the 3rd (1988, 200,000), followed in the 1990s by several more. The material for it was compiled by Robert Rozhdestvensky, an officially laurelled Soviet poet. Also in 1981 Yuri Lyubimov staged at Taganka a new music and poetry production called Vladimir Vysotsky which was promptly banned and officially premiered on 25 January 1989.
In 1982 the motion picture The Ballad of the Valiant Knight Ivanhoe was produced in the Soviet Union and in 1983 the movie was released to the public. Four songs by Vysotsky were featured in the film.
In 1986 the official Vysotsky poetic heritage committee was formed (with Robert Rozhdestvensky at the helm, theater critic Natalya Krymova being both the instigator and the organizer). Despite some opposition from the conservatives (Yegor Ligachev was the latter's political leader, Stanislav Kunyaev of Nash Sovremennik represented its literary flank) Vysotsky was rewarded posthumously with the USSR State Prize. The official formula – "for creating the character of Zheglov and artistic achievements as a singer-songwriter" was much derided from both the left and the right. In 1988 the Selected Works of... (edited by N. Krymova) compilation was published, preceded by I Will Surely Return... (Я, конечно, вернусь...) book of fellow actors' memoirs and Vysotsky's verses, some published for the first time. In 1990 two volumes of extensive The Works of... were published, financed by the late poet's father Semyon Vysotsky. Even more ambitious publication series, self-proclaimed "the first ever academical edition" (the latter assertion being dismissed by sceptics) compiled and edited by Sergey Zhiltsov, were published in Tula (1994–1998, 5 volumes), Germany (1994, 7 volumes) and Moscow (1997, 4 volumes).
In 1989 the official Vysotsky Museum opened in Moscow, with the magazine of its own called Vagant (edited by Sergey Zaitsev) devoted entirely to Vysotsky's legacy. In 1996 it became an independent publication and was closed in 2002.
In the years to come, Vysotsky's grave became a site of pilgrimage for several generations of his fans, the youngest of whom were born after his death. His tombstone also became the subject of controversy, as his widow had wished for a simple abstract slab, while his parents insisted on a realistic gilded statue. Although probably too solemn to have inspired Vysotsky himself, the statue is believed by some to be full of metaphors and symbols reminiscent of the singer's life.
In 1995 in Moscow the Vysotsky monument was officially opened at Strastnoy Boulevard, by the Petrovsky Gates. Among those present were the bard's parents, two of his sons, first wife Iza, renown poets Yevtushenko and Voznesensky. "Vysotsky had always been telling the truth. Only once he was wrong when he sang in one of his songs: 'They will never erect me a monument in a square like that by Petrovskye Vorota'", Mayor of Moscow Yuri Luzhkov said in his speech.[95] A further monument to Vysotsky was erected in 2014 at Rostov-on-Don.
In October 2004, a monument to Vysotsky was erected in the Montenegrin capital of Podgorica, near the Millennium Bridge. His son, Nikita Vysotsky, attended the unveiling. The statue was designed by Russian sculptor Alexander Taratinov, who also designed a monument to Alexander Pushkin in Podgorica. The bronze statue shows Vysotsky standing on a pedestal, with his one hand raised and the other holding a guitar. Next to the figure lies a bronze skull – a reference to Vysotsky's monumental lead performances in Shakespeare's Hamlet. On the pedestal the last lines from a poem of Vysotsky's, dedicated to Montenegro, are carved.
The Vysotsky business center & semi-skyscraper was officially opened in Yekaterinburg, in 2011. It is the tallest building in Russia outside of Moscow, has 54 floors, total height: 188.3 m (618 ft). On the third floor of the business center is the Vysotsky Museum. Behind the building is a bronze sculpture of Vladimir Vysotsky and his third wife, a French actress Marina Vlady.
In 2011 a controversial movie Vysotsky. Thank You For Being Alive was released, script written by his son, Nikita Vysotsky. The actor Sergey Bezrukov portrayed Vysotsky, using a combination of a mask and CGI effects. The film tells about Vysotsky's illegal underground performances, problems with KGB and drugs, and subsequent clinical death in 1979.
Shortly after Vysotsky's death, many Russian bards started writing songs and poems about his life and death. The best known are Yuri Vizbor's "Letter to Vysotsky" (1982) and Bulat Okudzhava's "About Volodya Vysotsky" (1980). In Poland, Jacek Kaczmarski based some of his songs on those of Vysotsky, such as his first song (1977) was based on "The Wolfhunt", and dedicated to his memory the song "Epitafium dla Włodzimierza Wysockiego" ("Epitaph for Vladimir Vysotsky").
Every year on Vysotsky's birthday festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky's impact in Russia is often compared to that of Wolf Biermann in Germany, Bob Dylan in America, or Georges Brassens and Jacques Brel in France.
The asteroid 2374 Vladvysotskij, discovered by Lyudmila Zhuravleva, was named after Vysotsky.
During the Annual Q&A Event Direct Line with Vladimir Putin, Alexey Venediktov asked Putin to name a street in Moscow after the singer Vladimir Vysotsky, who, though considered one of the greatest Russian artists, has no street named after him in Moscow almost 30 years after his death. Venediktov stated a Russian law that allowed the President to do so and promote a law suggestion to name a street by decree. Putin answered that he would talk to Mayor of Moscow and would solve this problem. In July 2015 former Upper and Lower Tagansky Dead-ends (Верхний и Нижний Таганские тупики) in Moscow were reorganized into Vladimir Vysotsky Street.
The Sata Kieli Cultural Association, [Finland], organizes the annual International Vladimir Vysotsky Festival (Vysotski Fest), where Vysotsky's singers from different countries perform in Helsinki and other Finnish cities. They sing Vysotsky in different languages and in different arrangements.
Two brothers and singers from Finland, Mika and Turkka Mali, over the course of their more than 30-year musical career, have translated into Finnish, recorded and on numerous occasions publicly performed songs of Vladimir Vysotsky.
Throughout his lengthy musical career, Jaromír Nohavica, a famed Czech singer, translated and performed numerous songs of Vladimir Vysotsky, most notably Песня о друге (Píseň o příteli – Song about a friend).
The Museum of Vladimir Vysotsky in Koszalin dedicated to Vladimir Vysotsky was founded by Marlena Zimna (1969–2016) in May 1994, in her apartment, in the city of Koszalin, in Poland. Since then the museum has collected over 19,500 exhibits from different countries and currently holds Vladimir Vysotsky' personal items, autographs, drawings, letters, photographs and a large library containing unique film footage, vinyl records, CDs and DVDs. A special place in the collection holds a Vladimir Vysotsky's guitar, on which he played at a concert in Casablanca in April 1976. Vladimir Vysotsky presented this guitar to Moroccan journalist Hassan El-Sayed together with an autograph (an extract from Vladimir Vysotsky's song "What Happened in Africa"), written in Russian right on the guitar.
In January 2023, a monument to the outstanding actor, singer and poet Vladimir Vysotsky was unveiled in Yuzhno-Sakhalinsk, in the square near the Rodina House of Culture. Author Vladimir Chebotarev.
After her husband's death, urged by her friend Simone Signoret, Marina Vlady wrote a book called The Aborted Flight about her years together with Vysotsky. The book paid tribute to Vladimir's talent and rich persona, yet was uncompromising in its depiction of his addictions and the problems that they caused in their marriage. Written in French (and published in France in 1987), it was translated into Russian in tandem by Vlady and a professional translator and came out in 1989 in the USSR. Totally credible from the specialists' point of view, the book caused controversy, among other things, by shocking revelations about the difficult father-and-son relationship (or rather, the lack of any), implying that Vysotsky-senior (while his son was alive) was deeply ashamed of him and his songs which he deemed "anti-Soviet" and reported his own son to the KGB. Also in 1989 another important book of memoirs was published in the USSR, providing a bulk of priceless material for the host of future biographers, Alla Demidova's Vladimir Vysotsky, the One I Know and Love. Among other publications of note were Valery Zolotukhin's Vysotsky's Secret (2000), a series of Valery Perevozchikov's books (His Dying Hour, The Unknown Vysotsky and others) containing detailed accounts and interviews dealing with the bard's life's major controversies (the mystery surrounding his death, the truth behind Vysotsky Sr.'s alleged KGB reports, the true nature of Vladimir Vysotsky's relations with his mother Nina's second husband Georgy Bartosh etc.), Iza Zhukova's Short Happiness for a Lifetime and the late bard's sister-in-law Irena Vysotskaya's My Brother Vysotsky. The Beginnings (both 2005).
A group of enthusiasts has created a non-profit project – the mobile application "Vysotsky"
The multifaceted talent of Vysotsky is often described by the term "bard" (бард) that Vysotsky has never been enthusiastic about. He thought of himself mainly as an actor and poet rather than a singer, and once remarked, "I do not belong to what people call bards or minstrels or whatever." With the advent of portable tape-recorders in the Soviet Union, Vysotsky's music became available to the masses in the form of home-made reel-to-reel audio tape recordings (later on cassette tapes).
Vysotsky accompanied himself on a Russian seven-string guitar, with a raspy voice singing ballads of love, peace, war, everyday Soviet life and of the human condition. He was largely perceived as the voice of honesty, at times sarcastically jabbing at the Soviet government, which made him a target for surveillance and threats. In France, he has been compared with Georges Brassens; in Russia, however, he was more frequently compared with Joe Dassin, partly because they were the same age and died in the same year, although their ideologies, biographies, and musical styles are very different. Vysotsky's lyrics and style greatly influenced Jacek Kaczmarski, a Polish songwriter and singer who touched on similar themes.
The songs – over 600 of them – were written about almost any imaginable theme. The earliest were blatnaya pesnya ("outlaw songs"). These songs were based either on the life of the common people in Moscow or on life in the crime people, sometimes in Gulag. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war, but rather to expose the listener to the emotions of those in extreme, life-threatening situations. Most Soviet veterans would say that Vysotsky's war songs described the truth of war far more accurately than more official "patriotic" songs.
Nearly all of Vysotsky's songs are in the first person, although he is almost never the narrator. When singing his criminal songs, he would adopt the accent and intonation of a Moscow thief, and when singing war songs, he would sing from the point of view of a soldier. In many of his philosophical songs, he adopted the role of inanimate objects. This created some confusion about Vysotsky's background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet played his role so well that until told otherwise, many of his fans believed that he was, indeed, a criminal or war veteran. Vysotsky's father said that "War veterans thought the author of the songs to be one of them, as if he had participated in the war together with them." The same could be said about mountain climbers; on multiple occasions, Vysotsky was sent pictures of mountain climbers' graves with quotes from his lyrics etched on the tombstones.
Not being officially recognized as a poet and singer, Vysotsky performed wherever and whenever he could – in the theater (where he worked), at universities, in private apartments, village clubs, and in the open air. It was not unusual for him to give several concerts in one day. He used to sleep little, using the night hours to write. With few exceptions, he wasn't allowed to publish his recordings with "Melodiya", which held a monopoly on the Soviet music industry. His songs were passed on through amateur, fairly low quality recordings on vinyl discs and magnetic tape, resulting in his immense popularity. Cosmonauts even took his music on cassette into orbit.
Musically, virtually all of Vysotsky's songs were written in a minor key, and tended to employ from three to seven chords. Vysotsky composed his songs and played them exclusively on the Russian seven string guitar, often tuned a tone or a tone-and-a-half below the traditional Russian "Open G major" tuning. This guitar, with its specific Russian tuning, makes a slight yet notable difference in chord voicings than the standard tuned six string Spanish (classical) guitar, and it became a staple of his sound. Because Vysotsky tuned down a tone and a half, his strings had less tension, which also colored the sound.
His earliest songs were usually written in C minor (with the guitar tuned a tone down from DGBDGBD to CFACFAC)
Songs written in this key include "Stars" (Zvyozdy), "My friend left for Magadan" (Moy drug uyekhal v Magadan), and most of his "outlaw songs".
At around 1970, Vysotsky began writing and playing exclusively in A minor (guitar tuned to CFACFAC), which he continued doing until his death.
Vysotsky used his fingers instead of a pick to pluck and strum, as was the tradition with Russian guitar playing. He used a variety of finger picking and strumming techniques. One of his favorite was to play an alternating bass with his thumb as he plucked or strummed with his other fingers.
Often, Vysotsky would neglect to check the tuning of his guitar, which is particularly noticeable on earlier recordings. According to some accounts, Vysotsky would get upset when friends would attempt to tune his guitar, leading some to believe that he preferred to play slightly out of tune as a stylistic choice. Much of this is also attributable to the fact that a guitar that is tuned down more than 1 whole step (Vysotsky would sometimes tune as much as 2 and a half steps down) is prone to intonation problems.
Vysotsky had a unique singing style. He had an unusual habit of elongating consonants instead of vowels in his songs. So when a syllable is sung for a prolonged period of time, he would elongate the consonant instead of the vowel in that syllable.
'This roadtrip is going to be great!', they had said.
Well, here I was, driving down a seemingly endless road in Kansas, and had been doing so for over two hours. I could hardly remember the last time I touched the wheel - this road just kept going straight ahead with not even the slightest hint of a curve. The scenery was no better and could be summed up in one word: plains. Green, flat, never-ending plains. Sure, ahead you had the majestic outline of the Rockies, and yes, it seemed to be pretty close. But it had already seemed close two hours ago. Like a mirage, taunting you with the promise of something better just to remain out of reach, and at this point I had stopped hoping.
Behind me, eight of my travel companions were all snoozing. Odd, since it was only mid-afternoon, but it seemed this environment had a sedative effect on everyone, not just me. Next to me sat my designated map reader who was the only reason I had not yet gone crazy. There was obviously no map reading to be done. Here there was only one direction: straight ahead. To his credit, he had instead taken it upon himself to keep me occupied and we had had some pretty interesting conversations. Ultimately though, even he had been reduced to just sitting there staring blindly into the distance. We were two friends suffering together in this seemingly static nightmare.
But wait! Surely the mountians were closer now? And we could even spot some of the hills coming up. This was it! It had to be! Yes, the road started to bend, and soon we found ourselves cruising through the foothills! The road flowing with the terrain around it - something new to see around every corner. And trees! Glorious trees!
I looked over at my fellow companion with a smile and he was smiling too. Finally we had some enjoyable driving ahead of us! Our perserverence had paid off!
- 'Good job Emil' I heard a voice from the back. 'Pull over as soon as you can and we'll switch drivers'.
It seemed I was destined to enjoy the foothills through a heavily tinted window in the back of an overcrowded van instead of of having the pleasure of driving through this wonderful landscape.
This was from a road trip I took in university with some friends, and although perhaps a bit exaggerated here, the road through Kansas into Colorado is certainly not the most exciting driving to be had ;) Boring driving aside, the trip was loads of fun and I would love to go back with the family some time. But yeah, I'm a trees and mountains kinda guy, and open landscapes, though pretty in its own way, is not where I feel at home. Trees please!
"Now breathe in, then out. Feel the soil on the ground and the air flow through your lungs."
"Uh, Mr. Jones, we're still in your restaurants' basement," Wally said, cringing at the annoyed expression the older man makes at the remark. "It's, uh, concrete… and the air is from the crappy unit that really needs replacement."
The two had been doing warmups for the past hour, Eddie suggesting it to loosen Wally up. Wally had the suspicion it was less for him and more for the older man, but he preferred not being struck by the cane.
"Damnit, Wallace, keep your concentration!" Eddie chastised, golden lightning sparkling around him.
"Yup. Yup. Totally concentrating," Wally mumbled, blue lightning sparkling off his body, more wildly than Eddie's. "Breathing in the AC that smells a lot like tomatoes."
"Alright," Eddie said, annoyed, reaching his hand out, a glowing ball of yellow lightning surging within his palm. "Take my hand."
"Alrighty," Wally said, his hand trembling as he reached out, the ball of blue lightning in his palm fluctuating. "Im… I'm not really feeling it right no-" suddenly the ball of lightning exploded, sending him soaring into the padded wall.
"You alright kid!?" Eddie shouted, hobbling over to the boy, who shot a thumbs up into the air.
"Just… just peachy," Wally said, lifting himself up. "That was kind of fun, maybe it can be my 'ultimate move'? Ultra Joybuzz."
Eddie sighed, shaking his head and walking away from the boy to sit in his chair. "I understand that this… entire concept is strange, believe me, I know…" Eddie began, crossing his arms, "but I can't teach you anything if you're gonna treat it as a game."
"It isn't a game to me!" Wally said, jolting up from the ground and moving towards Eddie. "It's just… it's new to me, and not easy…"
"Mhm…"
"I'm serious!" Wally said, letting small amounts of lightning flow through him. "I'm still struggling to really control this… but getting mad about it? It won't help anything, y'know? If I can smile in the face of defeat, then I know I can come back stronger next time."
Eddie was silent for a moment, Wally staring at the man through his tinted lenses. Eventually, he stood, walking towards the stairs.
"Mr. Jones…"
"Go run a few miles on the treadmill," he said, beginning to walk up the stairs. "I'll be back soon."
-^-
Barry walked into CCPD, the station grim inside. Officers felt less alive than normal, only one possible reason for it. Barry spotted Patty, who was escorting a detainee to the holding cells.
"Hey, Patty," he called, gaining the blond's attention.
"Barry, I was wondering where you were," she said, handing the cuffed man to another officer. "How are you holding up?"
"I… um… I'll be fine, I was with Daniel," he said, receiving a solemn nod in return. "August told me Joe was here? I haven't had the chance…"
"Oh, yeah," she said, frowning. "He and the DA were talking, Morillo is being extremely cautious about this matter, especially after what happened to Flash. Joe said he needed air and went up to the roof. He's been up there a while now, you should… y'know."
"Yeah… thank you, Patty," Barry said, smiling at the small salute she gave him as the two parted ways.
Barry quickly made his way to the elevator, standing in silence as he rode it to the roof. As the doors opened, he spotted Joe, sitting alone on the edge, looking out at the city. Barry slowly walked over, taking a spot next to the man.
The two sat in complete silence, both simply gazing out into the city. Even though it was a single building, without Central City General the city felt so… different. Barry knew if he noticed, Joe also had to.
"The view is strange without CCG, isn't it?" Barry asked, looking to his left.
Joe was silent for another moment, before nodding. "The world just keeps changing," he mumbled, looking down at his hands. "Every villain you face, every crime you stop. It makes me wonder what I'm even doing at this point."
"Joe, what I do wouldn't be possible without you," Barry said, placing his hand atop the man's shoulder. "Not just you the detective, but you the father. You helped make me who I am now."
"I mean… what about now?" He asked, looking up at Barry. "I can't stop people like Mardon or Snart… someone like Thawne could kill me in seconds… and Eradicator…"
"These people aren't just criminals, Joe," Barry reassured. "It's like you said, they're villains, super villains. Just because you can't stop someone who can control the weather doesn't make what you do any less important."
"What do I do?" he questioned, looking out at the people walking below. "I couldn't do anything with Mardon, you had to face Snart all alone. My hands were tied with Jesse… I didn't even know about Thawne until you two showed up on my lawn."
"You inspire people," Barry said with a smile. "People like me, who can fight the dangerous changes the world is facing… who can fight for change."
Joe looked down, a frown on his face.
"I know what it's like… having someone who caused you so much pain suddenly return, ready to hurt you again," Barry explained, looking out at the cloudy sky. "It made me scared. It made me… angry. I felt like the world, my world, was crashing down before my eyes… but I wasn't alone. You are not alone, Joe."
"How are we supposed to stop him?" Joe asked, still not looking up. "If Coolidge alone could do what he did… then what are you supposed to do against both of them?"
"We'll just have to figure that out," Barry said, lifting his hand from Joe's shoulder. "Yeah… we'll figure it out… together."
A few minutes of silence passed as the two watched the city. Soon, Barry's mouth curved upwards as he heard a small chuckle from the man next to him. "Y'know, I remember back when you were in middle school, and Daniel would have an episode while I was at work," Joe began, causing Barry to chuckle lightly as well.
"They'd have one of his teachers drive all the way to the middle school, pick me up, and take me back to the elementary all so I could calm him down," Barry said, laughing aloud. "It always had to be by the water fountain so he could get a drink after it all."
"You graduated hallway pep talks a long time ago, Barry," Joe said, smiling at the blond. "You just… you say I inspire you… the opposite is true too. You're a beacon to me, the precinct, the city… soon you'll be a beacon to the world, I know it."
"That beacon wouldn't be able to light up the night without you," Barry said, patting Joe on the back as he stood. "How about I go get everything we've got on Phillips and Coolidge, a couple Big Belly Burgers, and the two of us get to work."
"Yeah… we'll figure it all out… together."
-^-
"You can't do this to me. I started this company… you know how much I've sacrificed!?"
August sat on the West house sofa watching the burned copy of a newly released film. Sat beside him, snoring lightly, was Daniel. The boy had fallen asleep a few hours ago, but August refused to leave his side.
The footage of the news broadcast replayed in his mind, the sight of Heatmonger brutalizing Barry, and Eradicator destroying an entire building without even touching it. It scared him. It scared him that Barry was forced to fight this battle alone, that he was the only one in the city who could stand any semblance of a chance against the duo.
It scared him that he felt completely powerless to do anything about it.
Knock Knock Knock
August turned towards the front door. The sound of Daniel stirring made him frown, his and patting the boy's shoulder as he stood. "Get back to sleep, Daniel," he said, stretching. "I'll see what it-"
"Barry… no… lock it…"
August frowned again, before moving to the window. He looked around, hoping to see who was outside, but the street lamps only could reveal so much. As August reached the door, shuffling sounded off from the couch.
"A-August… wait a second," Daniel said, reaching out towards August, his eyes wide. "D-don't…"
"What's… wrong?" August began, before a cracking noise resonated through the house.
August eyes shot open like saucers as he peered down to the brass doorknob, which was slowly beginning to chip. His eyes shot back to Daniel before the door exploded into hundreds of tiny pieces. August raised his arm, shielding his eyes from the chunks of wood before looking back at the door frame. Stepping inside was the red cloaked-man, his golden faceplate visible in the dull light of the living room.
"Daniel, run!"
August immediately reached for the coat hanger, swinging it like a bo staff at the intruder. Eradicator caught the object mid-attack,clenching his fist and turning the wood to ash in mere seconds. August stumbled back, lifting a side table and chucking at the villain, though he didn't even let it touch the ground before it was dust.
Running into the kitchen, August pulled knives from the block and began chucking them at Eradicator. Eradicator, however, began to dodge each blade. Catching the last between his fingers, he clenched his fist, dusting it with ease. August continued to back up until his back hit the countertop, hand immediately opening the cabinet under the sink.
"No more running," Eradicator said, moving in closer. "Give me the West boy, or die."
"Oh yeah?" August asked, as he reached into the cabinet he was backed up against. "I think death is overrated."
August then smirked, pulling a twelve gauge shotgun hidden under the sink. He quickly cocked the weapon before blasting Eradicator full of pellets. The villain flew backwards from the force, his body smashing into the dining table and crushing it under his weight. August took a deep breath, sighing out loud as he began walking to the front door.
"It'll take more than a twelve gauge to kill me," Eradicator said, leaping to a stand.
August's eyes went wide as he quickly cocked the weapon again, but as he pointed it forward, Eradicator placed his hand over the muzzle. August's eyes narrowed as he stared into the intruder's red eyes. The trigger of the weapon was pulled, but Eradicator's hand remained the same. The villain pulled his hand away, letting dust fall to the ground.
"Pathetic."
August jumped back, dropping the gun as it turned to dust following the pellets. With his reflexes too slow, Eradicator was able to wrap his fingers around August's neck, lifting him into the air.
"You made the wrong-"
"Let him go!"
Eradicator swiftly turned, catching the downwards swing of a baseball bat. The wood turned to dust in seconds, Eradicator then grabbing Daniel, the attacker, and lifting him into the air as well.
"Daniel, no…" August mumbled, trying to peel away from the villain's grip.
"How noble of you," Eradicator said, looking into Daniel's eyes. "You shouldn't have announced the surprise attack though, it would've bought him a few more seconds to live."
August watched as the man turned towards him once more. Letting out a shaky breath, he grit his teeth and closed his eyes. After a few seconds of nothing passed, his eyes opened to see Eradicator standing frozen, his eyes glowing white rather than the usual red. Moments later the red returned.
"You're lucky, for you have been spared," he said, before flinging August across the room and into the wall. "He allows you to live, remember that."
August attempted to stand, but fell onto his knees. Looking up, he watched Eradicator move towards him, lifting and slamming a boot into his face, leaving his vision to fade with the sight of Daniel being taken away.
-^-
Wally let out a sigh of relief as he heard footsteps coming down the stairs. He'd been running for over 20 minutes and was bored out of his mind. The sight he didn't expect to see, as he hopped off the treadmill and walked towards the training space, was Eddie holding a portable radio.
"Uh… did you go out and buy a radio?" Wally asked, pointing to the device as Eddie placed it on the chair.
"Its mine, ya damn fool," Eddie mumbled, taking a CD out of his jacket's pocket.
"Oh God, here come the 20's blues," Wally sighed, before a familiar drumbeat began to play. "Wait a minute… I-"
The boy was cut off when Eddie's cane struck his shoulder. He looked up at the man, puzzled at the smile on his face.
Let's get down to business, to defeat… the Huns.
"Is this Mulan?"
Another strike of the cane hit Wally, this time in the shin. As Wally opened his mouth to protest, he saw the older man holding back a laugh, golden lightning shining around his body.
Did they send me daughters, when I asked for sons?
"Eddie, this isn't a mov-"
Crack
You're the saddest bunch I've ever met, but you can bet before we're through-
"Alright then, grandpa," Wally said, smiling as his own lightning began to sparkle, "let's make a man out of me."
-^-
Barry's heart raced as he sped down the streets of the city. The blue flames burned bright in the night sky, easily visible to him from miles away.
It had been hours that he and Joe were working on the case files when the report that blue flames emerged from Iron Heights. Joe couldn't even finish his sentence before Barry had been out of the precinct and on his way to the fire.
"Of course I'm mad that I missed things… in my life and yours… but they aren't over, Barry. You still have so much life to live, and now I'll be a part of it, not a spectator behind a wall of glass."
Barry grit his teeth, the air shattering around him as his speed doubled. 'Two weeks,' he thought to himself as body began to feel weaker the closer he got. 'He can't get hurt… not now!'
Barry slid along the ground, nearly falling over to stop himself as he arrived. His eyes widened as he looked up, staring at the hellfire raging on the island. The grass was scorched, falling rubble crashing to the ground and into the water beside him. Standing in front of Barry, arms hanging at his sides, was Heatmonger. The villain was still, staring at the blaze he'd created.
"What is wrong with you!" Barry shouted, feeling his speed drain at a rapid pace. "There are bad people in there, but no one deserves this!"
"You've never been in chains, locked away from what you hold most dear," he said, his voice low. "With Raijin's power… I'll make my world a reality. I'll make sure no one feels that pain again."
"You're murdering people!"
"No… liberating," he corrected, turning to Barry, eyes visible before the lenses quickly closed. "Those bound in chains… they don't live… they never will again. Freedom for them is the embrace of death… with Raijin I will give them freedom and life… but until then…"
"No… people in there do have a chance to live again!" Barry shouted, tears forming in his eyes. "You… you're taking that away from them!"
Barry took quick steps forward, a punch ready, but hesitated as Heatmonger still stood motionless. He skidded to a halt, sweat dripping down his face.
"You can try and stop me," Heatmonger suggested, gently flicking his wrist upwards, lowering the flames to a dull burn, "or be their savior. Up to you, really."
Barry watched as the white suited man stepped past him, beginning to walk away from the island. Barry could feel the burning sensation on his skin lessen as his speed slowly returned to him, just not in full. He stared at the villain, curious about his lost bravado, before shaking his head and darting into the prison.
Though the flames were low, they still were still hot, especially so in the dense corridors of Iron Heights. He spotted multiple open cells, likely the guards escorting as many of the inmates out of the prison as they could. Barry could feel his heart rate rise once again as he moved towards E-Block, the section of the prison his father was held in.
Barry gasped in horror at what awaited him. Unlike other cell blocks, this hall had been burned to a crisp, as if the fire started here. Various cell doors were dripping, the metal liquified by the heat. Corpses charred black sat in their cells, the concrete walls discolored and cracked. Swallowing his fear he approached his father's cell, his eyes watering at the sight. The man was sitting against the wall, half of his face burned to the muscle. His prison jumpsuit was covered in ash, as was his skin.
Barry bit his lip as he stepped into the cell, the door melted like the rest. Kneeling down, he tore his mask off to stare into his father's lifeless eyes. The man's head fell, tears dropping onto the blackened flooring.
"Dad… I…" Barry began, letting out a harsh sob. "Dad you were… you were so close… it was your time."
"S-son…"
Barry's head shot up, watching as his father's mouth moved slightly. His hand jolted forward, two fingers placing onto his father's neck. The low, but present pulse caused more tears to fall from Barry's eyes, a smile spreading along his face.
"Don't worry, dad," Barry said, pulling his mask over his face and lifting the man into his arms. "I'm gonna get you home. I'm gonna make sure you come home."
-^-
Barry stood outside the operating room, watching as a nurse applied a sedative to his father. The man in the bed had been immediately issued to the small clinic's intensive care, but their resources since CCG was destroyed have been stretched thin. The man had fourth degree burns, but the proper surgery could take days to begin.
He was pulled from his thoughts as Joe placed a hand on Barry's shoulders, squeezing him lightly.
As the nurse exited the room, Barry opened his mouth, but Joe spoke first. "How is he?" he asked, looking at Barry, then back to the nurse. "My son, back home… that's his real dad. Please tell me there's good news for him."
Barry inwardly sighed a thank you to Joe, realizing he nearly blew his identity in front of the woman.
"He… is alive, at least," she said, putting up a sad smile. "He'll… he'll need multiple surgeries, but he'll live, thanks to Flash. If you didn't get him here as fast as you did, he wouldn't be."
"J-just doing my part…" Barry mumbled, looking into the room through the window, holding back tears.
beep beep
"Oh, I'm sorry," the woman said, clicking the small pager on her breast pocket. "Someone downstairs is calling. If either of you need anything, please let me know."
"Of course, thank you, ma'am," Joe said, nodding her off.
Once the woman was gone, a tear rolled down Barry's cheek. "Why…" he whispered, gnawing on the inside of his cheek. "He… was so close to being free."
"He still will be, Barry," Joe said, leading him to the pair of seats opposite the window. "Look at this like a setback, a delay. He's still coming home to you, it'll just take a bit longer than expected."
"I'm… I'm so tired," Barry said, his hands coming up to rub his eyes. "Tired of waiting… tired of others getting hurt because of me-"
"This wasn't your fault Barry," Joe interrupted, turning to the blond. "You know that, right?"
Barry sat silent for a moment before nodding. "Yeah… yeah I know, not everything is on me," he sighed, leaning back in the seat, letting out a long exhale. "I'm not a god… I'm not."
"You aren't, and that's alright."
"I just… I don't get why it was so bad there, in dad's block," Barry mumbled, rubbing his eyes once more.
"I've got that answer, at least," Joe said, grabbing Barry's attention. "I called Morillo about it, asked if they could've found some sort of motive… turns out E-Block is where Lucious Coolidge was locked up at."
Barry's eyes widened, before he nodded, bringing his folded hands to his chin. "He mentioned something about freeing those chained… by death…" Barry recalled, looking at Joe. "If that was his cell block, maybe that is where the fire started… some kind of twisted salvation."
"It's the best we got," Joe said, before falling silent. "He… he wasn't there, was he?"
"No… just Lucious."
"Right…"
"Joe?"
"Hm?"
"Back when the nurse was here… I don't have a real dad," Barry said, smiling at the balding man. "I have two."
Joe stared at Barry with wide eyes before chuckling lightly, a small smile plastering over his face. "I… I'm glad."
Bzzz Bzzz. Bzzz Bzzz.
Joe reached into his pocket, looking at the phone's caller ID. "August is calling," he said, flipping the phone open and bringing it to his ear, "he probably wants to know if Henry is-"
The phone suddenly fell, making a small thud as it hit the floor. Joe was frozen, tears beginning to well in his eyes. Barry looked at him, puzzled.
"Joe?" he asked, seeing the tear run down the man's face. "Joe?! What's wrong?"
"Daniel…" he mumbled as he began to hyperventilate. "Eradicator took Daniel."
----------------------------
NEXT TIME: A Gold Mine of Information, The Underworld!
Verblühte Kuhschelle
Die Kuhschellen oder Küchenschellen (Pulsatilla) bilden eine Pflanzengattung in der Familie der Hahnenfußgewächse (Ranunculaceae). Man hat die etwa 33 Arten lange Zeit der verwandten, ähnlich aussehenden Gattung Windröschen (Anemone) zugerechnet. Ihre Arten blühen alle im Frühjahr und sie sind in Eurasien und Nordamerika beheimatet. Der botanische Gattungsname leitet sich aus dem lateinischen pulsare für läuten, schlagen ab und bezieht sich auf die glockenförmigen Blüten vieler Arten.
Die Kuhschellen sind ausdauernde krautige Pflanzen. Sie bilden aufrechte Rhizome als Überdauerungsorgene. Blätter und Stängel sind meist lang, weich, silbergrau behaart. Die in grundständigen Rosetten zusammenstehenden Laubblätter sind lang gestielt und ein- bis mehrfach gefiedert oder gefingert, mit fiederspaltigen bis fiederschnittigen Fiederblättchen.
Am Blütenstandsschaft befindet sich ein Quirl aus drei in unterschiedlichem Ausmaß reduzierten und am Grund meist miteinander verwachsenen Blättern, die eine glockenförmige Hülle bilden. Die zwittrigen, radiärsymmetrischen Blüten stehen einzeln am Ende des Stängels. Die weiße, rosa, violette oder rote Blütenhülle besteht aus zwei untereinander nicht sehr verschiedenen Kreisen aus jeweils drei Blütenhüllblättern, die außen meist dicht zottig behaart sind. Die Form der Blüte ähnelt oft einem Glöckchen oder auch einer Kuhschelle. Die Verkleinerungsform Kühchen hat zur Bezeichnung Küchen-Schelle geführt. Der botanische Name stammt ebenfalls von der glockigen Blütenform (lat. pulsare „schlagen“, „läuten“). Es sind viele gelb oder purpur gefärbte, freie Staubblätter vorhanden und außer bei Pulsatilla kostyczewii eine Reihe Staminodien (staminodialen Nektarien). Die zahlreichen, nicht miteinander verwachsenen Fruchtblätter besitzen jeweils nur eine Samenanlage. Die langen Griffel sind federförmig und vergrößern sich bis zur Fruchtreife.
In einem kugeligen Fruchtstand stehen viele, kleine, spindelförmige Nüsschen („Achänen“) zusammen, die sich jeweils aus einem freien Fruchtblatt entwickeln, an denen der Griffel, stark verlängert und zottig behaart, einen Federschweif bildet. Die Früchte der Kuhschellen sind Federschweifflieger und bohren sich mit scharfen Spitzen durch hygroskopische Bewegungen noch tief in den Boden ein.
A pasque flower (or pasqueflower) is a deciduous perennial that is found in short clumps in meadows and prairies of North America and Eurasia. The genus Pulsatilla includes about 30 species, many of which are valued for their finely-dissected leaves, solitary bell-shaped flowers, and plumed seed heads. The anthers are bright yellow and the purple bell consists of sepals.
In its tallgrass prairie habitat, it is one of the first plants to bloom in the spring, often before the late winter snows have thawed.
This genus is sometimes included as part of genus Anemone as subgenus Pulsatilla, and is also commonly known as the prairie crocus, wind flower, Easter Flower and meadow anemone. The pasque flower is the official state flower of South Dakota and the provincial flower of Manitoba. It also grows in limestone pastures in central and northern Europe and parts of Russia, and locally in southern England from where the Pasque / Parsk / Pask family takes its name.
Pasque refers to Easter (Passover) as the flower blooms around that time of year.
Pasque flower is highly toxic, and produces cardiogenic toxins and oxytoxins which slow the heart in humans. Excess use can lead to diarrhea, vomiting and convulsions,[1] hypotension and coma.[2] It has been used as a medicine by Native Americans for centuries. Blackfeet Indians used Pasque Flower to induce abortions and childbirth.[1] Pulsatilla should not be taken during pregnancy nor during lactation.[3]
Extracts of Pulsatilla have been used in an effort to treat reproductive problems such as premenstrual syndrome and epididymitis.[3] Additional applications of plant extracts include uses as a sedative and for treating coughs.[3] It is used as an initial ingredient in homeopathic preparations,[3] which don't have toxic effects of other remedies because the ingredients are diluted with water until no molecules of the initial substance can be found in a typical quantity
Walking through an old semi-abandoned National Heritage site in Cape Town we came accross a van with bottles filled with water and different colour dye. There was no-one around to explain why these bottles where here or their purpose. So it got me thinking about colour theraphy, Heres what I found. . .
Red
Red is a powerful colour that has always been associated with vitality and ambition. It can help overcome negative thoughts. However, it is also associated with anger; if we have too much red in our system, or around us, we may feel irritable, impatient, and uncomfortable.
Blue
Blue is a cool, calming colour and is associated with a higher part of the mind than yellow. It represents the night, so it makes us feel calm and relaxed as if we are being soothed by the deep blue of the night sky. Light and soft blue, make us feel quiet and protected from all the bustle and activity of the day, and alleviates insomnia. Blue inspires mental control, clarity, and creativity. Midnight blue has a strong sedative effect on the mind, allowing us to connect to our intuitive and feminine side. Too much dark blue can be depressing however.
Orange
Orange is a joyous colour. It frees and releases emotions and alleviates feelings of self-pity, lack of self worth, and unwillingness to forgive. It stimulates the mind, renewing interest in life; it is a wonderful anti-depressant and lifts the spirits.
Yellow
Yellow is also a happy, bright, and uplifting colour, a celebration of sunny days. It is associated with the intellectual side of the mind, and the expression of thoughts. It aids the powers of discernment and discrimination, memory and clear thinking, decision-making and good judgment. It helps good organization, assimilation of new ideas, and the ability to see different points of view. It builds self-confidence and encourages an optimistic attitude. Conversely, dull yellow can be the colour of fear
Green
Green has a strong affinity with nature, helping us connect with empathy to others and the natural world. We instinctively seek it out when under stress or experiencing emotional trauma. It creates a feeling of comfort, laziness and relaxation, calmness, and space, lessening stress, balancing and soothing the emotions. Lime green and olive green can have a detrimental effect on both physical and emotional health since sickly yellow and green are associated with the emotions of envy, resentment, and possessiveness.
Some violets, which I found on the edge of the forest, just by the road :)
Fiołkowa grupka pstryknięta podczas sobotniego spacerku po lesie :)
Viola odorata is a species of the genus Viola native to Europe and Asia, but has also been introduced to North America and Australasia. It is commonly known as Sweet Violet, English Violet, Common Violet, or Garden Violet.
The species can be found near the edges of forests or in clearings; it is also a common "uninvited guest" in shaded lawns or elsewhere in gardens. The flowers appear as early as February and last until the end of April.
Flowers and leaves of viola are made into a syrup used in alternative medicine mainly for respiratory ailments associated with congestion, coughing, and sore throat. Flowers are also edible and used as food additives for instance in salad, made into jelly, and candied for decoration. A decoction made from the root (dry herb) is used as a laxative. Tea made from the entire plant is used to treat digestive disorders and new research has detected the presence of a glycoside of salicylic acid (natural aspirin) which substantiates its use for centuries as a medicinal remedy for headache, body pains and as a sedative. As a bath additive the fresh crushed flowers are soothing to the skin and the aroma is very relaxing.
Polish name: fiołek wonny
Have a good week.
Then I'll try to have one too ;)).
Papaver is a genus of poppies, belonging to the Poppy family (Papaveraceae).
Its 120-odd species include the opium poppy and corn poppy. These are annual, biennial and perennial hardy, frost-tolerant plants growing natively in the temperate climates of Eurasia, Africa and North America (Canada, Alaska, Rocky Mountains). One section of the genus (Section Meconella) has an alpine and circumpolar arctic distribution and includes some of the most northerly-growing vascular land plants.
Papaver grows in disturbed soil. Its seeds may lay dormant for years, till the soil is disturbed. Then they bloom in great numbers under cool growing conditions.
The large, showy terminal flowers grow on long, hairy stalks, to a height of even 1m or more as in the Oriental Poppy (Papaver orientale). Their color vary from the deepest crimson, lilac, or white, or violet, to bright yellow or soft pink. The tissue-paper-like flowers may be single, double or semi-double. The size of these flowers can be amazing, as the Iceland Poppy (Papaver nudicaule) grows to 15-20 cm across.
The flower buds are nodding or bent downwards, turning upwards as they are opening. There are two layers. The outer layer of two sepals drops off as the bud opens. The inner layer consists of 4 (but sometimes 5 or 6) petals. There are many stamens in several whorls around a single pistil.
The ovary later develops in a poricidal capsular fruit, capped by the dried stigma. The numerous, tiny seeds escape with the slightest breeze through the pores of the capsule.
Poppies have a long history. They were already grown as ornamental plants since 5,000 BC in Mesopotamia. They were found in Egyptian tombs. In Greek mythology, the poppy was associated with Demeter, goddess of fertility and agriculture. People believed they would get a bountiful crop if poppies grew in their field, hence the name 'corn poppy'. In this case, the name 'corn' was derived from 'korn', the Greek word for 'grain'.
They are also sold as cut flowers in flower arrangements, especially the Iceland Poppy. They deserve a prominent place in any garden, border, or in meadow plantings. They are probably one of the most popular wildflowers.
In the course of history, poppies have always been attributed important medicinal properties. The alkaloid rhoeadine is derived from the flowers of the Corn Poppy (Papaver rhoeas). This is used as mild sedative. The stems contain a latex or milky sap. This may cause skin irritation, and the milky sap present in the Opium Poppy (Papaver somniferum) contains several narcotic alkaloids including morphine and codeine.
Heb een goede week.
Dan zal ik ook proberen er eentje te hebben ;)).
Klaproos of Papaver is een plantengeslacht (Papaver) waarin ook de opiumpapaver (Papaver somniferum of slaapbol), waaruit opium gewonnen wordt, thuishoort. Deze soort wordt ook als sierplant gebruikt. In de volkstaal wordt klaproos soms kollebloem genoemd. (kol = heks)
De papaver die in Nederland groeit, komt vooral voor op droge zanderige grond die kort geleden omgewoeld is, zoals op spoordijken of op opgespoten zandvlaktes. De zaden van de klaproos behouden onder de grond erg lang hun kiemkracht en ontkiemen als ze, soms na jaren, weer aan de oppervlakte komen. De klaproos is dan ook een echte pioniersplant.
Uit de soort P. somniferum wordt opium gewonnen. Dit is het ingedroogde witte melksap van deze plant dat een aantal alkaloïden bevat waarvan vooral codeïne en morfine belangrijk zijn.
Klaprozen zijn met name in het Verenigd Koninkrijk en andere landen van het Gemenebest van Naties het symbool van de Eerste Wereldoorlog omdat ze op de slagvelden in Vlaanderen uitbundig bloeiden (cfr. In Flanders Fields). Bij de Engelse nationale dodenherdenking (Remembrance Day) worden bij de cenotaph op Whitehall door de vorstin en hoogwaardigheidsbekleders klaprooskransen gelegd, geen echte overigens omdat klaproosbloembladen zeer snel uitvallen.
In de iconografie is de klaproos het attribuut van Hypnos, de Griekse god van de slaap.
De zaden van de klaproos worden vaak gebruikt in bepaalde (voornamelijk zoete) gerechten zoals de traditionele Poolse Makowiec-cake.
An aura of mystery and magic surrounds the Mandrake (Mandragora Officinarum). Native to Varlyrio, Kaliphlin and southern Avalonia, it's not easy to cultivate in Mitgardia.
The result is worth the effort though, as this plant can be used to prepare one the most efficient sedatives known to the Guilds.
It's also hallucinogenic and hypnotic, and is thus highly sought after by charlatans and fake shamans.
Passion Fruit
What a delicacy!!! Just cut one open, take a little spoon and scoop out the flesh. High in calcium, iron, vitamin A and C, a light sedative, also has a high pectin content...... great for specialty jams and ice cream toppings (((:
Nombre común o vulgar: Maracuyá, Granadilla, Granadillas, Pasionaria, Frutos de pasionaria, Fruta de la Pasión, Fruto de la Pasión
It takes merely thirty minutes for Alfred to safely remove the bullet from Talia’s wound. Rather alarming how skilled he has become with removing bullets from people. Part of me hopes it’s simply from the years of practise he’s had during my tenure in Gotham, but I know that’s not the case. I just hope he was removing the bullets from people other than himself. Mercifully for Talia, his skills have come a long way since then. So’s his stitch work.
As he goes to clean his surgical tools, I stay by Talia’s side waiting for her to regain consciousness. Her scar is nasty, but it’ll heal quickly. The perks of being pumped full of Lazarus. Then again, part of me can’t help but be curious as to why the healing factor hasn’t kicked in yet. A bullet wound that size would be more or less gone in 24 hours with the accelerated healing factor granted to her by Lazarus. The only option for it not kicking in is that she’s not been exposed to the pit for a couple of years.
But why would she have deliberately chosen to not bath in the pit?
There’s too many questions, and not enough answers.
Whilst I wait for the sedatives to wear off allowing her to regain consciousness, I take a moment to inspect a scar on her stomach. It’s partially healed but from what I can make out, it’s over a decade old at least. Though I can’t be certain given the extent of healing, the most logical assumption would be the scar of a cesarean section. No doubt there were complications whilst delivering Damian….given all that appears to have transpired that may be an understatement.
”Bru…..Bruce…”
”Feeling better?”
”Can’t tell. Everything feels numb.”
”That’ll be the sedative. The finest Wayne Enterprises has to offer.”
”It’s…..strong….this stuff usually has no effect on me.”
”One of the perks of Lazarus.”
”Yeah. I suppose that explains why it’s having such an effect on me.”
”So you haven’t exposed yourself to Lazarus for some time.”
”The lack of a healing factor tip you off?”
”It….may of. But why?”
”I didn’t want to forget him. In a way, I saw this as a reminder of my failure to protect him. Even before he was born. I failed him. And now….I learn that all the grief I gave myself for all those years….was for nothing. My own father, stole my son from me…”
”Then he made him into a weapon to kill me.”
”You broke him Bruce. When you left. The only time I’ve seen my Father so angry and heart broken before was when my mother died.”
”Now he wants to settle the score. He sacrificed his own son, to make me his heir. I guess it only seems fitting to him that in return, he use my son as a weapon against me. Be it Jason, or Damian.”
”I didn’t know about him.”
”I know. You were as shocked to learn about him as I was.”
”Not him. Jason. I trained him.”
”You what?”
”When he was brought to us half dead and my father placed him in the pit, I had no idea who he was. Only that he was a mighty warrior who had survived the impossible. I trained him. Showed him the way of the League, and next thing I knew he was gone. It wasn’t until he returned briefly that I learned all that he was.”
”One of my former Robins.”
”No. He was a weapon. One that my father intended to blow up in your face.”
”Nice to know he cares.”
”It was then that I realised the truth about my father. To him…”
”We’re all pawns.”
”Even those he holds most dear.”
”Especially them.”
”But to know that all these years, he hid my own son from me. Trained him with a greater intensity than he subjected you to….I just…..I can’t believe that this is the same man I looked up to growing up.”
A single tear falls down Talia’s left check. Before she has a chance to lift her arm and wipe it, I do so. As she closes her eyes to stop herself crying further I can’t help but find this all a bit surreal. A lot has changed in those years apart. Clearly believing herself to have lost Damian left her distraught. It breaks my heart to know that she spent all those years suffering by herself. All because of a moment of cowardice on my part.
Part of me still wonders whether or not I’d have made the choice I did had I known the consequences it would bring. Forced to live apart from Talia having allowed Ra’s to all but break her spirit. Have my own flesh and blood turned against me. All because of some false sense of morality I allow myself to be dictated by courtesy of my long deceased parents. Maybe I should have been brave. That’s all it would of taken…a moment of bravery.
As another tear falls down Talia’s cheek, I grab hold of her left hand and hold it tight. I made a mistake when I ran away from you before, I don’t intend to make that mistake again.
”I promise you Talia. On my dying breath. I will make things right. I promise.”
There’s a long moment of silence as I pause to kiss her hand and show that no matter what she thinks of herself, she still means everything to me.
”I want to see him.”
”You mean…?”
”I want to see my son.”
"All parts of the plant are poisonous. However, accidental poisoning is not likely since the berries are extremely bitter. The berries are the most toxic part of the plant. A healthy adult will experience poisoning from as few as six berries. Ingestion of the berries causes nausea, dizziness, increased pulse and severe gastrointestinal discomfort. The toxins can also have an immediate sedative effect on the cardiac muscle tissue possibly leading to cardiac arrest if introduced into the bloodstream. As few as two berries may be fatal to a child. All parts of the plant contain an irritant oil that is most concentrated within the roots and berries." From Wikipedia.
en.wikipedia.org/wiki/Actaea_rubra
The berries of this plant start off green, then change to either red or white. The flower cluster is white and beautiful.
Yesterday, 3 August 2019, a small group of us were lucky enough to visit two neighbouring acreages west of the city. In fact, along the road that I tend to drive along each time I drive out west. Friend, Dorothy, knows the owners of the first property we went to and had arranged for us to come and do a bioblitz on their 9.1 acres of mostly forested land. Nancy and Bill Cook have a beautiful, forested acreage and we were led along several different trails. Accompanying us was their big, black dog who was very sweet and determined to try and keep up with us, despite arthritic joints, which needed a few very brief rests. They were such welcoming and kind people and it was such a pleasure to help them learn a little more about what was growing and living around them. A juvenile Yellow-bellied Sapsucker was a surprise, and there was even an occasional fungus, including a rather fine coral fungus. We were also treated to coffee, iced tea and chocolate brownies. Thank you!
Part way through the day, we walked from their home to the neighbours, Dean & Charmaine Carton, who also knew we were coming. Their beautiful garden and 15 acres of land gave us a few lovely sightings, including a few bird species and, discovered growing on the ground inside a fire pit, a nice example of Marchantia liverwort, complete with fruiting body.
Our few hours out were greatly appreciated and enjoyed by everyone. I always think these outings are a win/win situation, with landowners gaining new knowledge plus a very detailed list of all the species found, and the rest of us always meet such lovely people and have a very enjoyable time.
Thanks so much, Nancy and Bill and your neighbours, for this experience. Thanks, as always, Dorothy and Stephen, for the ride there and back.
i luv diz dude i think hez hot hez fine && sexii && i luv hez songz here they r
herez him rap battlein
www.youtube.com/watch?v=tLzgC0NL11k
www.youtube.com/watch?v=Szou7F6mYQ0&feature=related
"Don't Fuck With Us"
[John Cena]
We keep it hoppin like the cars with the shocks
We spittin heat on your block
We new to the game, but runnin the spot
Numbin your knot, with basslines that'll make ya neck break
This rook'll take your queen and put ya king in checkmate
Open your mind without makin ya meditate
We real champs; y'all just featherweight
Time to get it straight, I push your wig back
Crew loaded up with extra bread like a Big Mac
Beefin with us? We're leavin you face down
Stompin bitch rappers like I'm straight outta A-Town
Runnin the playground like it was a track meet
Shoes on the whip that be bigger than Shaq's feet
We into big things, bank account's overgrown
All types of cheese - swiss, cheddar, provolone
Guaranteed to burn wax like candles
Track hittin hard to the head like shots of Jack Daniels
[Chorus 2X: John Cena]
Y'all, bitch, crews, don't wanna fuck with us
Y'all bound, to, lose, another one bites the dust
[Tha Trademarc]
It's Trademarc the truth, laid back, aloof
I'm God, as if you needed some proof
You ain't hard I can see it on you, I need a roof
Fuck a droptop, crop if I'm creepin on you
Click-clack nickelback knickknacks if you got heaters on you
Spittin back live rounders, with five pounders
If we meetin on two, I put a beatin on you
Your sound's tired buddy, that's why I'm sleepin on you
We lean back in the ride, with cream stackin the rawhide
The sound of God slide with a raw vibe
Straight military camel clothes ash brown boots
So sick, I've been handlin flows, since enamel was gold tooth
And branded by low
You cold fuck like eskimo hoes at 7 below
You slow, you be the last to think
My hands seen more fuckin dirt than bathroom sinks
[Chorus]
[John Cena]
I got punks, dumps and switches, dump chumpses bitches
We feed you to the sharks, you can sleep with the fishes
Clean you like dishes but I ain't no busboy
You ain't family, you ain't earnin my trust boy
Seen too many bitches that'll double cross ya
We bring more drama than the Laker roster
Get the click pissed, ain't nobody can save ya
Throw heat without lookin like Fernando Valenzuela
[Tha Trademarc]
Marc Predka's the name, the rest of you lame
I'm ego drivin, seen with different women, every size and frame
I refine my game by fuckin famous bitches
But it's all the same, it's just ex to the next
for sex or brain, misses or Mrs.
Married or not, my game don't stop
It's cars bars bonds and stocks you ain't see my flow
Y'all are small-time suckers like a knee-high hoe
[Chorus]
"Bad, Bad Man"
[John Cena]
Aww, you done did it now
Chaos you shoulda put this one in the vault man!
They not ready - they don't know what's comin man!
Oh we gonna drop this on 'em right here
Y'all ain't ready for this, Y'ALL AIN'T READY FOR NONE OF THIS!
Your boy's a bad man, and we invadin the streets
Make unclever rappers scurred, they be droppin the heat
Shocked the world, now I'm standin alone
I flip fools like them clamshell cellular phones
You can't help but nod your head to the track
Fuck the watered down rap, we be takin it back
Give it to me straight - ain't no chasin it
Check yourself in the mirror - ain't no facin it
Cause you, playin the role and you plannin to fold
This the masterplan, we got the planet on hold
We all over the streets like your favorite sneaker
Breakin up your sound like a drive-through speaker
Everything that I be spittin is strong
After I rock, fast forward through the rest of the song
We the monkeywrench, that's gonna ruin your plan
And don't fuck with John Cena - I'm a BAD, BAD MAN
[Chorus 2X: Bumpy Knuckles]
With the mic in my hands I'm a bad man
Even in a fight with the hands I'm a bad man
Livin in the streets all my life I'm a bad man
I'm a bad man, I'm a bad man
[Tha Trademarc]
We devils - rockin ambient levels
We set loose among hot tunes to instrumentals
And cats got one-liners, I drop several
And I think it's funny you choose, losin progress
or runnin in place; we makin moves, and y'all settle
I rip rappers and take responsibility
for makin future hall-of-famers look third rate
Y'all are lost for words like conversation on your worst first date
and ride beats, creep through side streets
Looseleaf notepads that's where rhymes leak
Punchlines - man, don't even beg
I got knee-slappin tracks, y'all brusin your leg
You a rhyme writer - funny man, that's a joke
You ain't worthy of bein my secretary man that's a quote
I flood tracks like cracks in boats
And pussy rappers choked up with they own lines in they throat
[Chorus]
[Bumpy Knuckles a.k.a. Freddie Foxxx]
TURN UP THE MICROPHONE and feed me I'm a beast
MC's and they beats is what I eat, 16 I'll leave you in the street
My rhymes are sicker than gangrene in both feet
It's spreadin up the leg, and headed for the head
Your rhymes are whack your style is proof that the brain corrosion
is fuckin with your chosen flows, I'm nice with mics
My hands'll break your nose like Mikey Tyson
Fightin in his prime, one rhyme
And I shake up the room one time, BOOM! To the jaw
Your face is a coat type raw
And the blood and snot they mix, jelly on the floor
My love is cop them bricks, belly on the floor
I rob you, you soft and you really ain't a problem
I solve you, 357 long nose revolve you
Acid in your face, bad look, dissolve you
I'm a bad, bad man
Yeah, check it out
It's Bumpy Knuckles baby
And I want you to say hello to the BAD, BAD, MAN - C'MON!
[Chorus]
"Basic Thugonomics"
"So... you think you're untouchable?"
[Chorus: John Cena - scratched by DJ Chaos]
Word life! This is basic thugonomics
This is ba-basic thugomoics
Word life! {*scratching*}
"I'm untouchable, but I'm forcin you to feel me" - Esoteric
Word life! This is bas-{*scratch*}
Basic thugo-{*scratch*}-thugo-{*scratch*}-thugonomics
Word life! {*scratching*}
"I'm untouchable, but I'm forcin you to feel me" - Esoteric
[Verse One: John Cena]
Whether fightin, or spittin, my discipline is unforgiven
Got you backin up, in a defensive position
An ass-kickin anthem, heavyweight or bantam
Holdin camps for ransom, the microphone phantom
Teams hit the floor, this the new fight joint
Like a broken needle kid, you missin the point!
We dominate your conference with offense that's no nonsense
My theme song hits, get your reinforcements!
We strike quick with hard kicks, duckin ice picks
Bare-knuckle men through fight pits, beat you lifeless
Never survive this! Get forget like Alzheimer's
Two-face rappers, walk away with four shiners
The raw rhymer, turnin legends to old-timers
My incisor's like a viper, bitin through your one-liners!
New Deadman Inc. - and we about to make you famous
Takin over Earth and still kickin in Uranus!
[Chorus]
[Verse Two: Esoteric]
You ain't advanced enough to process potential phonetical concepts
The objects are foreign, like blot tests
Sponsored sex, a complex, regardless of your finesse
or your fitness, it's the condition of business
Your lame vision of a underground, physical image
You're underneath to undermine your whole, typical image
With the precision of percentages, and the collision of sedatives
Poetry, beats, and mics - we untouchable
like righteous sluts with no crevices
Streets unite, we rock right over dumber beats
Yo' cats couldn't come this hot if they {jerked} off in the summer heat
Forget two takes, kill y'all birds the first time
Yo' best {shit} ain't, worthy of my filler or worst rhymes
I'm better than nice, check the veteran stripes
Leave you beside yourself with fear, I kill you, and bury you twice
Despite the cover of night, trackin' your flight
Like guerilla warfare, where the grass is dense
Approachin me is a quick way to get referred to in the past tense
Dead that! When the light to mic is on
The crowd is dead like the intermission when you on the Titantron
[Chorus]
"Make It Loud"
[John Cena at a live show]
It's the joint baby, GOTTA MAKE IT LOUD [crowd cheers]
SO LET ME HEAR SOME NOISE FROM THE CROWD [more cheering]
[Tazz] That's noise!
[Chorus 2X: John Cena]
It's the joint baby, gotta make it loud
Get the point yo you gotat make it loud
Everybody in the club make it loud
SO LET ME HEAR SOME NOISE FROM THE CROWD
[John Cena]
Yeah, yeah
We came to kick the door down, it's time to hit the floor now
Yo... we got some shit in store now
So; clap your hands while we let the sax blow
Not quite Krispy Kreme, but we came to stack dough
We ain't maxed yo, we just try and get this money right
Bills made of Spandex, I still keep my money tight
Never stoppin, all I see is the money like
the kid on the mic is too +Raw+ for your Monday night
If you got in free, or your fuckin cover's paid
Bounce to this motherfucker like you was some Rubbermaid
This ain't that Cristal sippin type shit
It's that bottle breakin, startin riot type shit
So jump up and down 'til ya break the floor
Yo we keep it underground like a basement tour
East coast reppin, stretchin out to L.A.
Not double oh seven but we +Die Another Day+, what
[Chorus]
[Tha Trademarc]
I tear up any track, front to back
Like Roy Jones takin on fifty year-old cats
makin comebacks, where you at, cats spit soft shit
like whispers and gloves, I'm not hearin that
It's all love maybe if you wanna rub baby
Anything but that, step back lady
Trademarc, John Cena, clubbin it up
We got Chaos on the one and two, cuttin it up
I'm all about laid back, don't jock, I hate that
I see through haters games, don't mistake that
I still got love if you buyin our shit
If you claim you hatin us, but you ridin our dicks
Everybody hear the name, Marc Predka
It's gonna ring like an echo for years, I never left ya
All y'all raise your glass to this shit
Cause Trademarc's the head of the class of misfits
[Chorus]
[John Cena]
We steal your top spot, and you not gettin your number back
Chop down competition like I was a lumberjack
Clear out the club floor, we keep 'em comin back
Tough to bring down like an overweight runningback
Yeah - and we blaze 'em baby
Trademarc, John Cena, we amazin baby
Yo we tear up any crew, leave a motherfucker worn
Y'all are just soft like some Cinemax porn
[Tha Trademarc]
I move a crowd like a bomb scare
Grab the mic when we hittin it right, if you want fear
Some say Trademarc, he ain't all there
We old school like when Sonny, was on Cher
Take it back like a Richard Pyror 8-track
And grab a chunk of your change like a state tax
Man please, we want platinum plaques
I want cream, green, cheddar cheese, to grab in stacks
[Chorus]
[scratching Trademarc to fade]
"Chaos on the one and two, cuttin it up"
"That's that shit!"
[crowd chanting] "Ce-na, Ce-na, Ce-na" [at the end]
"my time is now"
[Chorus: John Cena]
Your time is up, my time is now
You can't see me, my time is now
It's the franchise, boy I'm shinin now
You can't see me, my time is now!
[John Cena]
In case you forgot or fell off I'm still hot - knock your shell off
My money stack fat plus I can't turn the swell off
The franchise, doin big bid'ness, I live this
It's automatic I win this - oh you hear those horns, you finished
A soldier, and I stay under you fightin
Plus I'm stormin on you chumps like I'm thunder and lightning
Ain't no way you breakin me kid, I'm harder than nails
Plus I keep it on lock, like I'm part of the jail
I'm slaughterin stale, competition, I got the whole block wishin
they could run with my division but they gone fishin -
- with no bait, kid your boy hold weight
I got my soul straight, I brush your mouth like Colgate
In any weather I'm never better your boy's so hot
you'll never catch me in the next man's sweater
If they hate, let 'em hate, I drop ya whole clan
Lay yo' ass DOWN for the three second TAN
[Chorus]
[Tha Trademarc]
Yeah, uhh
It's gon' be what it's gon' be
Five pounds of courage buddy, bass tint pants with a gold T
Uhh - it's a war dance and victory step
A raw stance is a gift, when you insist it's my rep
John Cena, Trademarc, y'all are so-so
And talk about the bread you make but don't know the recipe for dough though
Aimin guns in all your photos, that's a no-no
When this pop, you'll liplock, your big talk's a blatant no-show
See what happens when the ice age melt
You see monetary status is not what matters, but it helps
I rock a timepiece by Benny if any
The same reason y'all could love me is the same reason y'all condemn me
A man's measured by the way that he thinks
Not clothing lines, ice links, leather and minks
I spent 20 plus years seekin knowledge of self
So for now Marc Predka's livin live for wealth
[Chorus - repeat 2X]
(theirz more but these i luv da mozt)
(here da videoz)
(make it loud) www.youtube.com/watch?v=V02Sz51ySV0
(basic thugonomics) www.youtube.com/watch?v=n8Guq9KRQgA
(dont fuck with us) www.youtube.com/watch?v=oAs4-nEH0rE
(bad bad man) www.youtube.com/watch?v=_lKuoF3qz-w&feature=related
(my time is now) www.youtube.com/watch?v=_JAa3NvP6f4
(&& hez a wwe wrestler 2 =])
Pierwszy tegoroczny fiołek wypatrzony w parku :)
First violet which I saw in this year :)
Viola odorata is a species of the genus Viola native to Europe and Asia, but has also been introduced to North America and Australasia. It is commonly known as Sweet Violet, English Violet, Common Violet, or Garden Violet.
The species can be found near the edges of forests or in clearings; it is also a common "uninvited guest" in shaded lawns or elsewhere in gardens. The flowers appear as early as February and last until the end of April.
Flowers and leaves of viola are made into a syrup used in alternative medicine mainly for respiratory ailments associated with congestion, coughing, and sore throat. Flowers are also edible and used as food additives for instance in salad, made into jelly, and candied for decoration. A decoction made from the root (dry herb) is used as a laxative. Tea made from the entire plant is used to treat digestive disorders and new research has detected the presence of a glycoside of salicylic acid (natural aspirin) which substantiates its use for centuries as a medicinal remedy for headache, body pains and as a sedative. As a bath additive the fresh crushed flowers are soothing to the skin and the aroma is very relaxing.
Polish name: fiołek wonny
self with the flow of headlines.
created from headlines of The Times 5 April 2019 and The Financial Times 5 April 2019.
If you do not now know SEDATOLE you should!
SEDATOLE is a cough sedative containing in fluid dram 1/32 grain or heroin with tolu sanguinaria squill wild cherry and balm of gilead buds Mfrs Sharp & Dohme Baltimore Md
Folkloric
· In the Philippines, a decoction of the inner bark or fresh cambium and leaves is used to treat diarrhea.
· Acute bacillary dysentery, enteritis, diarrhea: use 15 to 30 gms dried material in decoction.
· Also for colds, sore throat, headache.
· A decoction of the inner bark or fresh cambium and leaves is used to treat diarrhea.
· Anaphylactic dermatitis, eczema, skin pruritus: use decoction of fresh material and apply as external wash.
· Latex used as gum arabic for gluing.
· Seeds chewed for sore throat; inner bark decoction and fresh leaves used for colds and diarrhea.
· In Pakistan infusion of leaves used as laxative. Decoction of inner bark used for diarrhea, colds, and intestinal ailments.
· In Jamaica leaf infusion used for treating blood pressure.
· In Tropical Africa seeds are chewed for treating gum and throat inflammations.
· In Venezuela rain tree is a traditional remedy for colds, diarrhea, headache, intestinal ailments and stomach ache.
· Root decoction used in hot baths for stomach cancer.
· In the West Indies, the leaf infusion is used as a laxative and seeds chewed for sore throat.
· The alcoholic extract of leaves used for tuberculosis.
· In Columbia, the fruit decoction is used as a sedative
source: stuart xchange.
Papaver is a genus of 70–100 species of frost-tolerant annuals, biennials, and perennials native to temperate and cold regions of Eurasia, Africa and North America. It is the type genus of the poppy family, Papaveraceae.
Description
The flowers have two sepals that fall off as the bud opens, and four (or up to six) petals in red, pink, orange, yellow, or lilac. There are many stamens in several whorls around a compound pistil, which results from the fusion of carpels. The stigmas are visible on top of the capsule, and the number of stigmas corresponds to the number of fused carpels.
The ovary later develops into a dehiscing capsule, capped by the dried stigmas. The opened capsule scatters its numerous, tiny seeds as air movement shakes it, due to the long stem.
The typical Papaver gynoecium is superior (the flower is hypogynous) with a globular ovary. The style is characteristically absent for the type species opium poppy, and several others, although those with a style do exist. The sessile plate-like stigmata lies on top of the ovary. Pollen-receptive surfaces. The characteristic fruit type of Papaver is the unilocular capsule. The stigmatic disc rests on top of the capsule, and beneath it are dehiscent pores or valves.
Taxonomy
The factual accuracy of parts of this article (those related to this section) may be compromised due to out-of-date information. The reason given is: publications since 2006 are not taken into account. Relevant discussion may be found on the talk page. Please help update this article to reflect recent events or newly available information. (February 2021)
Divided into a number of sections by Kiger (1973, 1985), the following are lectotypified with their lectotype species. Subsequent cladistic classification by Carolan et al. (2006) suggested Papaver was not monophyletic.
Clade 1. P. sect. Meconella, Meconopsis
Clade 2. P. sect. Carinatae, P. sect. Meconidium, P. sect. Oxytona, P. sect. Papaver, P. sect. Pilosa, P. sect. Pseudopilosa, P. cambrica, P. sect. Californicum, P. sect. Horrida and P. sect. Rhoeadium
Clade 3. P. sect. Argemonidium, Roemeria refracta
The following are lectotypified with their lectotype species:
P. sect. Carinatae (P. macrostomum Boiss. & Huet)
P. sect. Oxytona (P. orientale L.)
P. sect. Macrantha (P. orientale L.) - superfluous
P. sect. Calomecon (Calomecon orientale)
Phylogeny of Papaver and related genera
Papaver sect. Argemonidium includes four annual, half-rosette species, P. argemone, P. pavonium, P. apulum, and P. hybridum (Kadereit 1986a). Papaver apulum, P. argemone and P. pavonium occur allopatrically from the Adriatic Sea to the Himalayan range. P. hybridum is distributed widely from the Himalayas to Macaronesian Islands. These species are easily distinguished in petal and capsule characters, but are clearly closely related according to molecular analysis. Argemonidium is a sister group to all other Papaver sections, with characteristic indels. Morphological characters also support this distinction, including the presence of an apical plug in the capsules, long internodes above the basal leaf rosette, bristly capsules and polyporate pollen grains. Carolan et al. (2006) supported Kadereit et al. (1997)’s suggestions that Argemonidium and Roemeria are in fact sister taxa. They share some morphological characters that distinguish them from Papaver, including polyporate pollen grains, and long internodes superior the basal leaf rosette. Previous taxonomies of the Old World clade did include the close relationship between Argemonidium and Roemeria, nor Argemonidium’s distinctness from Papaver s.s. Carolan suggest Argemonidium be elevated to genus status, with Roemeria a sub-genus.
Papaver sect. Meconella is widely distributed, with populations spanning central, inner and eastern Asia, Siberia, Scandinavia, northern Greenland, Canada, the Rocky Mountains, and regions of Europe. It has been distinguished from other Papaver sections morphologically by its bristly, valvate capsules, pinnatisect leaves, pale stamen, and white, orange or yellow corolla. Older taxonomies divided Meconella into two groups based on degree of leaf dissection (finely dissected leaves vs. broad leaf lobes). Kadereit (1990) and Kadereit and Sytsma (1992) regarded finely dissected leaves as a derived character, and suggested that Meconella formed a group with Argemonidium as sister to other Papaver sects. Bittkau and Kadereit (2002) demonstrated that for P. alpinum s.l. broad leaf lobes were ancestral. Carolan et al. (2006) resolved Meconopsis as sister to sect. Meconella, forming a sister clade to the rest of Papaver, excluding Argemonidium. Meconella possesses a sessile stigmatic disc, similar to the typical discs of Papaver sect. Papaver., yet differences in the disc and other morphological characters have led to suggestions that this feature may not be homologous. The results of the Carolan et al. (2006) analysis present a major problem to previous taxonomy of the genera Meconopsis, and Papaver. As several species of Meconopsis (excluding M. cambrica) and P. Meconella resolved as a monophyletic group, sister to other Papaver sects., either Meconella must be elevated to genus status, or combined with the Asian species of Meconopsis, as a subgenus of Papaver.
Papaver sects. Californicum and Horrida have unique geographic distributions in relation to the rest of the genus. Horrida is represented by a single species Papaver aculeatum of, an annual flower native to South Africa. The capsule is glabrous narrow, long and poricidal. The vegetative parts are covered with setae, and the growth form is a rosette with rarely branching axes, and narrowly elliptical incised leaves. P. sect. californicum, is also represented by a single annual species, of the same name. As the name implies, it is native to western North America, and is characterized by a slender, ribbed, glabrous capsule, a racemose inflorescence, yellow anthers and filaments, and valvate capsule dehiscece. Previous morphological-based taxonomies of these species have led to unreliable groupings. Horrida and Pilosa have racemose inflorescences, pale filiform filaments and long capsules with flat stigmatic discs, while P. californicum and sect. Meconidium share valvate capsule dehiscence and pale filaments, but geographically these species are distinct, and do not follow molecular evidence. Commonality among these features is therefore hypothesized to be a result of convergence. In Carolan et al.’s (2006) combined ITS, trnL-F trees, both Horrida and Californicum attach to basal nodes within the main clade Papaver. Kadereit et al. (1997) postulated that Stylomecon heterophylla arose from within Papaver and should not be relegated as a separate genus. S. heterophylla and P. californicum are both native to southwestern North America, and share habitats. They are also morphologically similar, sharing glabrous buds, bright orange corollas, and yellow anthers. Their capsules are different, with S. heterophylla possessing a distinct style that is reminiscent of those in many Meconopsis species. However, Carolan et al.’s (2006) analysis strongly supports a monophyletic group for S. heterophylla and P. californicum, sister to the core Papaver sects, with Horrida, basal to that grouping. They recommended that both sects. Californicum and Horrida be elevated to “subgenera” within Papaver. The authors reject the genus status of Stylomecon.
Meconopsis is composed of mostly Asian dwelling species, and a single European representative, M. cambrica. Kadereit et al. (1997) first provided evidence that this relationship is not monophyletic. Carolan et al. (2006) confirmed the separation of M. cambrica from the rest of Meconopsis. In fact, it forms a well-supported sister-group to the core sections of Papaver, excluding Argemonidium, Californicum, Horrida and Meconella.
The core sections of Papaver s.s. form a well-supported clade, consisting of Pseudopilosa, Pilosa, Papaver, Carinatae, Meconidium, Oxytona, and Rhoeadium. Pseudopilosa spp. have a subscapose growth habit, and their distribution includes south-western Asia, northern Africa and southern Spain. There are some leaves on the lower part of the flower axis carrying a single flower. Carolan et al.’s (2006) analysis placed Pseudopilosa as sister to the remaining Papaver s.s. sections. Pilosa is a single species, P. pilosum, found mostly in western Turkey Sects. Pilosa and Pseudopilosa are separated based on morphological and chemical differences.
The monophyly of Carinatae, Papaver and Rhoeadium is questionable based on current molecular evidence.[3] Papaver sect. Rhoeadium comprises seventeen annual species. Carolan et al. (2006) use three representative species, P. commutatum, P. dubium, and P. rhoeas for their genetic analysis. The geographic center of Rhoeadium’s diversity is in south-western Asia and the Aegean area. They have poricidal capsules and usually dark filaments. This section is morphologically diverse however, leading Kadereit (1989) to recognize three distinct groups. The first comprises species with tetraploid and hexaploid genomes, with long capsules. The second group contains diploid species and diverse morphologies. The third group consists of diploid species and uniform morphologies. Carolan et al. (2006) showed some incongruences between their trnL-F and ITS maximum parsimony trees, showing weak support for Kadereit's (1989) groupings. Further analyses with more species and more samples will be necessary to resolve the phylogeny at this level.
Papaver has traditionally been characterized by the absence of a stigma, and the presence of a sessile stigmatic disc. Carolan et al. (2006) demonstrated that several species with this trait however are closely related to taxa possessing a style e.g. S. heterophylla and P. californicum, and P. sect. Meconella and Asian Meconopsis. This evidence, in combination with morphological differences among the discs suggests convergent evolutionary pathways. Papaver has long been considered the most derived clade within Papaveroideae, due to the belief that the stigmatic disc was an apomorphous characteristic. Sections Meconella and Californicum exhibit valvate dehiscence, and their basal position within Papaver suggest this may be an ancestral form. Its presence in Meconidium, however, suggests it is also a synapomorphy within that group.
Note: Meconella (not to be confused with the genus Meconella) has an alpine and circumpolar arctic distribution and includes some of the most northerly-growing vascular land plants.
Species
There are 70–100 species, including:
Papaver acrochaetum
Papaver aculeatum : South African poppy
Papaver alboroseum : pale poppy
Papaver alpinum : dwarf poppy
Papaver amurense
Papaver apokrinomenon
Papaver apulum
Papaver arachnoideum
Papaver arenarium
Papaver argemone : long pricklyhead poppy, prickly poppy, pale poppy
Papaver armeniacum
Papaver atlanticum (syn. P. rupifragum var. atlanticum)
Papaver aurantiacum
Papaver belangeri
Papaver berberica
Papaver bipinnatum
Papaver bracteatum
Papaver burseri (syn. Papaver alpinum) - alpine poppy
Papaver californicum : fire poppy, western poppy
Papaver cambricum : Welsh poppy
Papaver clavatum
Papaver commutatum
Papaver croceum : ice poppy
Papaver curviscapum
Papaver cylindricum
Papaver dahlianum : Svalbard poppy
Papaver decaisnei
Papaver degenii : Pirin poppy
Papaver dubium : long-headed poppy, blindeyes
Papaver fugax
Papaver giganteum
Papaver glaucum : tulip poppy, Turkish red poppy
Papaver gorgoneum
Papaver gorodkovii : Arctic poppy
Papaver gracile :
Papaver guerlekense
Papaver hybridum : round pricklyhead poppy
Papaver kluanense : alpine poppy
Papaver lacerum
Papaver lapponicum : Lapland poppy
Papaver lasiothrix
Papaver lateritium
Papaver macounii : Macoun's poppy
Papaver mcconnellii : McConnell's poppy
Papaver miyabeanum : Japanese poppy
Papaver nudicaule : Iceland poppy, Icelandic poppy
Papaver orientale L.
Papaver paucifoliatum
Papaver persicum
Papaver pilosum :
Papaver polychaetum
Papaver postii
Papaver purpureamarginatum
Papaver pygmaeum : pigmy poppy
Papaver quintuplinervium : harebell poppy
Papaver radicatum : rooted poppy
Papaver rhoeas : common poppy, corn poppy, annual poppy, Flanders poppy, Shirley poppy
Papaver rhopalothece
Papaver rupifragum : Atlas poppy, Moroccan poppy, Spanish poppy
Papaver sendtneri : white alpine poppy
Papaver setiferum Goldblatt, syn. P. pseudo-orientale (Fedde) Medw. : Oriental poppy
Papaver setigerum : Poppy of Troy, dwarf breadseed poppy
Papaver somniferum : Opium poppy (Type species)
Papaver spicatum
Papaver strictum
Papaver stylatum
Papaver tenuifolium
Papaver triniifolium
Papaver umbonatum : Semitic poppy, Israeli poppy
Papaver walpolei : Walpole's poppy
History and uses
Poppies have been grown as ornamental plants since 5000 BC in Mesopotamia. They were found in Egyptian tombs. In Greek mythology, the poppy was associated with Demeter, goddess of fertility and agriculture. The origin of the cultural symbol was probably Minoan Crete, because a figurine known as the "poppy goddess" was found at a Minoan sanctuary in Crete.
In the course of history, poppies have always been attributed important medicinal properties. The stems contain a milky latex that may cause skin irritation, and the latex in the opium poppy (Papaver somniferum) contains several narcotic alkaloids, including morphine and codeine. The alkaloid rhoeadine, derived from the flowers of the corn poppy (Papaver rhoeas), is used as a mild sedative. Poppy seeds are used in baking and cooking, and poppyseed oil is used in cooking and pharmaceuticals, and as a radiocontrast agent.
The ancient Greeks portrayed Hypnos, Nyx and Thanatos, the gods of sleep, night and death, with the symbol of the poppy. The earliest written record appeared in the eighth century BC. Early Greek accounts seem to indicate the plant was used for euthanasia; on some Greek islands, women used it in old age to shorten the time left until natural death. Hippocrates (460–377 BC) was one of the first to emphasize the medicinal uses of the poppy and outline several methods of preparation. He described poppy juice as narcotic, hypnotic, and cathartic. He also recognized the plant's uses as food, particularly the seeds. By the first century AD, Dioskorides wrote down the first poppy taxonomy. He distinguished between several different kinds, the first of which was the "cultivated" or "garden" poppies. He further distinguished two types within this category, ones with black and others with white seeds. Both had elongated capsules and the black-seeded variety was involuted. Historians speculate this variety was Papaver somniferum. Other species were in use, as well. Dioskorides named the “flowering” poppy as a type with strong hypnotic properties. This is believed to be Papaver hybridum. Finally, the “wild” poppy he described is believed to be Papaver orientale. Pliny the Elder, a Roman historian, later mentioned an “intermediate” type between the wild and cultivated poppy, likely Papaver rhoeas. He wrote about medical applications of the plant; the leaves and capsules were boiled in water to create juice, pressed and rubbed to create tablets, and the dried latex was used to form opium. These products were used in much the same way they are in many cultures today, to promote sleep and to relieve indigestion and respiratory problems.
A century later, Galen wrote even more extensively about the diverse applications of various poppy products. He wrote that opium was the strongest known drug for dulling the senses and for inducing sleep. He wrote about its use to treat a variety of ailments, including eye and lung inflammation.
The First (1839–1842) and Second Opium Wars (1856–1860) between China and Great Britain resulted from attempts by successive Chinese emperors to suppress increasing imports of opium into the country. In the first half of the 19th century, poppy seed oil was an important food crop, but large-scale production did not begin until Europe began to manufacture morphine in the mid-19th century. While 800–1000 tons of Indian opium are processed legally each year, this represents only an estimated 5% of total opium production worldwide; the majority is produced illegally. The first factory specializing in dry capsule processing was built in 1928.
Today, morphine and codeine are common alkaloids found in several poppy varieties, and are important drugs for much of the world. Australia, Turkey and India are the most important producers of poppy for medicinal use, while the US, the UK, France, Australia and Hungary are the largest processors. In the United States, opium is illegal, as is possession or cultivation of the flower itself. However, the law is seldom enforced when poppies are grown for culinary or ornamental use. The Opium Poppy Control Act Of 1942 led to the “Poppy Rebellion”, and a battle between California farmers and the federal government. Today, the law and its enforcement remain vague and controversial, even inciting episodes between gardeners and "the poppy police".
They are also sold as cut flowers in flower arrangements, especially the Iceland poppy.
Il papavero comune o rosolaccio (Papaver rhoeas L.) è una pianta erbacea annuale appartenente alla famiglia Papaveraceae.
La specie, largamente diffusa in Italia, cresce normalmente in campi e sui bordi di strade e ferrovie ed è considerata una pianta infestante. Petali e semi possiedono leggere proprietà sedative: il papavero è parente stretto del papavero da oppio, da cui si estrae la morfina.
MORFOLOGIA: È alta fino a 80 - 90 cm. Il fusto è eretto, coperto di peli rigidi. Tagliato emette un liquido bianco.
I boccioli sono verdi a forma di oliva e penduli. Il fiore è rosso dai petali delicati e caduchi. Spesso macchiato di nero alla base in corrispondenza degli stami di colore nero. Fiorisce in primavera da aprile fino a metà luglio.
Foglie pennato partite sparse lungo il fusto.
Il frutto è una capsula che contiene numerosi semi piccoli, reniformi e reticolati. Fuoriescono da un foro sotto lo stimma.
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The common poppy or poppy (Papaver rhoeas L.) is an annual herbaceous plant belonging to the family Papaveraceae.
The species, widespread in Italy, usually grown in fields and on the edges of roads and railways, and is considered a weed. Petals and seeds have read sedative properties: the poppy is a close relative of the opium poppy, from which we extract morphine.
MORPHOLOGY: It is high up to 80 - 90 cm. The stem is erect, covered with stiff hairs. Cut emits a white liquid.
The buds are green olive-shaped and pendulous. The flower is red petals delicate and fleeting. Often spotted in black at the base of the stamens in black. Blooms in spring from April until mid-July.
Feathery leaves lots scattered along the stem.
The fruit is a capsule containing many small seeds, kidney-shaped and barbed wire. Emerge from a hole beneath the stigma.
© Paolo Salvadori All Rights Reserved. No usage allowed including copying or sharing without my written permission.
Parámetros :: Parameters :: Paramètres: Fuji FinePix SL1000; ISO 100; 0 ev; f 4.5; 1/14 s; 10 mm Fuji Lens.
Título :: Title :: Titre ::: Fecha (Date): Uratos y Estruvitas :: Urate & Struvite :: Urate et Struvite ::: 2015/08/18 19:39
(Es). Historia: León. España. Finales de Julio, en una de las salida a la Playa de Bayas, me di cuenta de que Fray tenía demasiado tiempo la pierna levantada cuando orinaba. Al principio lo observé a lo lejos pero, ya volviendo para casa, cuando Fray caminaba a mi lado vi con detalle que tenía que hacer demasiado esfuerzo para orinar. Lo hacía a gotas manteniendo durante casi un minuto o más la pierna levantada. Al día siguiente, ya en León, parecía que iba mejor, fluidamente, pero por precaución fuimos al veterinario con una muestra de orina. La tira reactiva no indicaba infección, pero sí un pH alto de casi 8, cuando debería de estar entre 5 y 7,5; también indicaba hematuria. Siguiente paso: centrifugación de la muestra y mirar al microscopio. Claramente se observaron cristales de estruvita debidos posiblemente a la dieta. Decidimos hacer una nueva toma al cabo de unos días y valorar el número de cristales de estruvita que podían existir.
Aunque aparentemente en los días siguientes orinaba sin dificultad, la segunda muestra dio aún más cristales, por lo que decidimos cambiar urgentemente a una dieta para descender el pH y provocar la dilución de los cristales de estruvita. Volvimos a Asturias y aparentemente todo evolucionaba bien durante algunos días, pero apareció de nuevo el problema de esforzarse prolongadamente para orinar, agravándose día a día. Finalmente, después de consultarlo por teléfono con el veterinario de León, nos recomendó llevarlo al Hospital Veterinario de Nacho Menes en Gijón. Pedimos cita ese mismo día y lo llevamos al día siguiente, viernes 14/08/2015. Con una ecografía se descartaron masas tumorales, pero había que realizar más pruebas diagnósticas para analizar si en uretra podía haber algún tipo cálculo. La radiografía normal no indicaba obstrucción, pero con una prueba de contraste podríamos detectarlos. Eran las 10 de la mañana y mientras preparaban todo el material para hacer la prueba de contraste, salí con Fray a dar un paseo durante una hora. Casi la mitad del tiempo del paseo lo dedicó a intentar orinar. Agotado por el esfuerzo, lo hacía incluso sin levantar ya la pierna.
Volvemos al Hospital de Nacho Menes a las 11. Eramos tres personas para intentar sujetarle y tomarle la vía pero no había forma; se revolvía enérgicamente a la mínima intención de pincharle con la aguja. Nunca ha amenazado Fray con morder a una persona y tampoco lo hizo en aquella situación de estrés agravada además por el dolor que debía de sentir por el problema de no poder vaciar la vejiga. Finalmente hubo que ponerle un sedante y quedarme sólo con él esperando a que hiciera efecto. Mientras esperábamos Fray quedó mirando fijamente a la puerta por donde había entrado a la habitación, pegado a mi lado. Algunas caricias y a los 2 minutos fue inclinándose lentamente hacia la derecha, apoyándose en mi pierna, hasta que se tumbó y quedó completamente sedado. Le cogí en brazos y le subí a la mesa. Llegó Quico, el veterinario que le trató en el Hospital y ya pudieron ponerle la vía, haciendo seguidamente la prueba de contraste. Se observó claramente una obstrucción con un objeto que parecía un cristal de unos 6 mm de diámetro en uretra, dentro del hueso peneano. Quico comentó que se podía resolver con intervención urgente. El cristal no puede eliminarse empujándolo al exterior por su vía normal sino que tiene que llevarse hasta la vejiga y luego abrirla para extraerlo. Si no se consigue llevar hasta la vejiga habría que hacer una uretrotomía y, en adelante, tendría que orinar por un orificio hecho antes del hueso peneano. Había que tomar la decisión en ese instante. El veterinario me comenta que tengo que dar visto bueno al presupuesto, que dependiendo de una u otra forma de resolverlo, oscilaba entre unos 700 a 800 €.
Había ido sólo con Fray a Gijón, así que llamé a casa y comenté lo que ocurría. Todos dicen que adelante con la intervención cuanto antes. Le digo a Quico que de acuerdo, añadiendo que Fray está asegurado en MAPFRE y que entiendo que la póliza da cobertura al caso. Al instante de comentar esto, Quico me dice que efectivamente está cubierta la intervención sin el menor problema. Ellos harán los trámites y no tenemos que hacer desembolso alguno. Todo en marcha y Fray sigue sedado. Me dicen que tendrá que estar hasta mañana sábado, quizá hasta el domingo, porque tiene que estar sondado durante unas horas después de la intervención, por lo tanto, controlado continuamente. No tiene sentido que espera allí en ese momento. Ellos me llamarán por la tarde para indicarme cómo ha ido todo y me seguirán teniendo informado por teléfono. Vuelvo solo a San Juán de la Arena, a unos 40 km del Hospital y a esperar la llamada.
A las 5 de la tarde nos dicen que está realizada la intervención y que el cristal no era un cuerpo sólido único sino que eran cientos de pequeños cristales posiblemente de urato, que se consiguió llevarlos hasta la vejiga y liberarse de ellos posteriormente desde allí. Comentaron que en ese momento estaba aún sedado y con la sonda. Por la noche nos dirán más porque el servicio del hospital es de 24 horas 7 días a la semana. Llamamos a las 22 horas y nos dicen que ya comenzó despertarse y ponerse nervioso. Debió de pasar mala noche.
Al día siguiente me llaman hacia mediodía comentándome que ya puedo ir a recogerlo, que está muy nervioso y se ha quitado el solo la sonda. Con la agitación que tiene es mejor pasar a recogerlo y vigilarlo en casa. Nos vamos rápidamente a Gijón y le oíamos los aullidos de llamadas cuando entrábamos por la puerta. Bajamos a la zona donde estaba y en el momento de vernos se abalanzó lentamente hacia mí y los aullidos se fueron diluyendo al tiempo que le hablaba y acariciaba. Ya tenía puesto el collar isabelino, pero fue ponerle la correa con el característico "click" del mosquetón y ponerse a subir las escalera apresuradamente hacia la calle. Luego hubo que introducirlo en el coche con ese collar isabelino que le impedía maniobrar en los asientos traseros.
Los cristales se envían a analizar y nos dirán si finalmente aparecen cristales de urato. Ellos sospechan que es muy probable y que supondrá modificar la dieta porque se necesita buscar un equilibrio entre la dieta para uratos y la recomendada para estruvitas. El resto lo contaremos otro día.
Toma: La toma es ya en León, unos días después de la intervención aunque Fray continúa con el collar protector. Se asoma a la terraza atravesando toda la casa mientras choca continuamente su collar con esquinas, marcos, sillones y mesas. Simplemente mira hacía mi y hago la toma.
Tratamiento: Con Aperture. Original en JPG. Subo un poco la vibración de color y la definición. En el histograma recorto por ambos extremos. Aplico una ligera viñeta.
¡Eso es todo amigos!
(En). The History: León. Spain. Late July, in one of the walks on the beach of Bayas, I noticed that Friar lifting leg for too long when urinating. At first I saw in the distance but since returning home when Fray walked to my side saw in detail that he had to do too hard to urinate. He did it drops keeping for nearly a minute or more raised leg. The next day, being already in Leon, looked like he was better, fluently, but as a precaution we went to the vet with a urine sample. The test strip did not indicate infection, but a high pH of about 8, when it should be between 5 and 7.5; also he indicated hematuria. Next step: centrifugation of the sample and look under the microscope. Clearly struvite crystals possibly due to diet were observed. We decided to take a new sample after a few days and evaluate the number of struvite crystals that could exist.
Although apparently in the days Fray urinated without difficulty, the second sample gave further crystals, so we decided to urgently change to a diet to lower the pH and cause dilution of struvite crystals. We returned to Asturias and apparently all evolved well for a few days, but the problem reappeared striving for long to urinate, worsening day by day. Finally, after consultation by phone with the veterinarian who was in Leon, he did recommend him to the Veterinary Hospital of Nacho Menes in Gijon. We ask appointment that day and we took the next day, Friday 14.08.2015. With an ultrasound tumor masses were discarded, but had to do more diagnostic tests to examine whether the urethra could be some stones. Normal x-ray showed no obstruction, but with contrast radiology test could detect small stones. It was 10 am and while preparing all the material for testing contrast, Fray date for a walk for an hour. Almost half the time the ride was devoted to trying to urinate. Exhausted by the effort, he did not even lift and leg.
We return to the Hospital of Nacho Menes at 11. We were three people to try to hold him and take his vein but there was no way; it is strongly stirring the intention of the needle prick. Fray has never threatened to bite a person and neither did in that stressful situation worsened by the pain she must feel for the problem of not being able to empty the bladder. Finally we had to put a sedative and to stay with him just waiting to take effect. While waiting Fray stared at the door through which he had entered the room, stuck with me. Some strokes and two minutes was slowly leaning to the right, leaning on my leg, until it lay down and was completely sedated. I picked her up and went to the table. Quico arrived, the veterinarian who treated him in the hospital and they could put the track, then doing the test of contrast. an obstruction with an object that looked like a crystal of about 6 mm in diameter obstructing the urethra within the penis bone was clearly observed. Quico said could solve urgent intervention. The stone can not be removed by pushing it outside its normal path but has to take into the bladder and then open it to remove it. If it fails to take up the bladder should make a urethrotomy and henceforth would have to urinate through a hole made before the penis bone. He had to make the decision at that time. The vet tells me I have to give approval to the budget, depending on one or another way to solve it, it ranged from 700 to 800 €.
We had been to Gijon Fray and I, so I called home and told what was happening. Everyone says go ahead with surgery as soon as possible. I tell Quico who agrees, adding that Fray is insured by MAPFRE and understand the policy provides coverage to the case. Instantly discuss this, Quico tells me that the intervention is effectively covered without the slightest problem. They will do the paperwork and do not have to do any payment. Fray everything up and still sedated. I say it will be until Saturday morning, perhaps until Sunday, because it has to have a urethral catheter for a few hours after surgery, therefore, continuously controlled. No sense waiting there at the time. They called me in the afternoon to tell me how everything went and I will continue informed by phone. I return to San Juan de la Arena, about 40 km from the hospital and wait for the call.
At 5 pm we are told that the intervention is made and that the stone was not a single solid body but were hundreds of tiny crystals of urate may be, they succeeded in bringing into the bladder and later released them from there. They said he was still sedated and urethral probe at that time. At night we will say more because the service of the hospital is 24 hours 7 days a week. We call 22 hours and tell us that and began to wake up and get nervous. He must have spent a bad night.
The next day, Saturday, I called around noon and commenting that I can go pick it up, which is very nervous and has removed only the urethral catheter. With the turmoil that has better pick it up and watch it at home. We quickly go to Gijon and heard the howls of calls when we walked through the door. We went down to the area where it was and when to see us slowly lurched toward me and howls became diluted while speaking to him and stroked. He had put the protectdor Elizabethan collar, but was put the strap with the characteristic "click" of the clip and get to climb the ladder quickly toward the street. Then we had to put it in the car with the Elizabethan collar that prevented maneuver in the rear seats.
The crystals are sent to analyze and tell us if finally appear urate crystals. They suspect it is very likely that will change the diet because you need to find a balance between diet for urate and recommended struvite. The rest we will have another day.
Taking up: The decision is now in Leon, at home, a few days after surgery and Fray continues with protective collar. It overlooks the terrace through the whole house while continually crashes his collar corners, frames, chairs and tables. Just look to me and make the shot.
Treatment: With Aperture. Original JPG. Increase a little vibration of color and definition. In the histogram I cut at both ends. Apply a slight vignette.
That's all folks !!
(Fr). Histoire: León. L'Espagne. Fin Juillet, dans l'une des promenades sur la plage de Bayas, je remarquai que Fray levage jambe pendant trop longtemps au moment d'uriner. Au début, je voyais dans la distance, mais depuis son retour à la maison quand Fray marchait à côté de moi a vu en détail qu'il avait à faire trop difficile d'uriner. Il a fait ce qu'il tombe en gardant près d'une minute ou d'une jambe plus élevé. Le lendemain, étant déjà à Leon, a regardé comme il était mieux, couramment, mais par mesure de précaution, nous sommes allés chez le vétérinaire avec un échantillon d'urine. La bandelette de test n'a pas indiqué l'infection, mais un pH élevé d'environ 8, quand il devrait se situer entre 5 et 7,5; aussi at-il indiqué hématurie. Prochaine étape: la centrifugation de l'échantillon et de regarder sous le microscope. Cristaux clairement struvite éventuellement due à l'alimentation ont été observés. Nous avons décidé de prendre un nouvel échantillon au bout de quelques jours et d'évaluer le nombre de cristaux de struvite qui pourraient exister.
Bien qu'apparemment dans les jours Fray uriné sans difficulté, le deuxième échantillon donné d'autres cristaux, donc nous avons décidé de changer de toute urgence à un régime alimentaire pour abaisser le pH et provoquer une dilution de cristaux de struvite. Nous sommes retournés à Asturias et apparemment tous bien évolué pendant quelques jours, mais le problème est réapparu effort pour longtemps d'uriner, l'aggravation de jour en jour. Enfin, après consultation par téléphone avec le vétérinaire qui était à Leon, il recommande à l'hôpital vétérinaire de Nacho Ménès à Gijon. Nous demandons la nomination ce jour-là et nous avons pris le lendemain, vendredi 14/08/2015. Avec une échographie des masses tumorales ont été mis au rebut, mais a dû faire des tests de diagnostic plus d'examiner si l'urètre peut être quelques pierres. X-ray normaux montrent pas d'obstruction, mais avec le test de radiologie de contraste pouvaient détecter de petites pierres. Il était 10 h et pendant la préparation de tout le matériel pour les tests revanche, la date Fray pour une promenade d'une heure. Presque la moitié du temps de la balade a été consacrée à essayer d'uriner. Épuisé par l'effort, il n'a même pas levé et la jambe.
Nous retournons à l'Hôpital de Nacho Ménès à 11. Nous étions trois personnes pour essayer de le retenir et de prendre sa veine mais il n'y avait aucun moyen; il est fortement remuant l'intention de la piqûre. Fray n'a jamais menacé de mordre une personne et pas plus que dans cette situation stressante aggravée par la douleur, elle doit se sentir pour le problème de ne pas être en mesure de vider la vessie. Enfin, nous avons dû mettre un sédatif et de rester avec lui attendant juste de prendre effet. En attendant Fray fixa la porte par laquelle il était entré dans la pièce, collé avec moi. Quelques coups et deux minutes se penchait lentement vers la droite, appuyé sur ma jambe, jusqu'à ce qu'il se coucha et a été complètement sous sédation. Je l'ai ramassé et je suis allé à la table. Quico arrivé, le vétérinaire qui l'a soigné à l'hôpital et ils pourraient mettre la piste, puis de faire le test de contraste. une obstruction avec un objet qui ressemblait à un cristal d'environ 6 mm de diamètre obstruction de l'urètre dans l'os de pénis a été clairement observé. Quico dit pourrait résoudre une intervention urgente. La pierre ne peut être enlevé en le poussant hors de son trajet normal, mais doit prendre dans la vessie et puis ouvrez-le pour le retirer. Si elle ne parvient pas à prendre la vessie devrait faire une urétrotomie et désormais aurait d'uriner à travers un trou fait avant l'os de pénis. Il a dû prendre la décision à ce moment. Le vétérinaire m'a Je dois donner l'approbation du budget, en fonction de l'un ou l'autre façon de résoudre il raconte, il variait de 700 à 800 €.
Nous avons été à Gijon Fray et moi, donc je appelé à la maison et a dit ce qui se passait. Tout le monde me dit d'aller de l'avant avec la chirurgie dès que possible. Je dis Quico qui accepte, ajoutant que Fray est assurée par MAPFRE et comprendre la politique fournit une couverture à l'affaire. Discuter instantanément cela, Quico me dit que l'intervention est effectivement couvert sans le moindre problème. Ils vont faire la paperasse et ne pas avoir à faire tout paiement. Tout Fray et encore sous sédation. Je dis que ce sera jusqu'à samedi matin, peut-être jusqu'à dimanche, car il doit avoir une sonde urétrale pendant quelques heures après la chirurgie, donc contrôlée en permanence. Aucun sens là à attendre à l'époque. On m'a appelé dans l'après-midi pour me dire comment tout est allé et je vais continuer informé par téléphone. Je reviens à San Juan de la Arena, à environ 40 km de l'hôpital et attendre l'appel.
A 17 heures, on nous dit que l'intervention est faite et que la pierre était pas un corps solide unique, mais étions des centaines de minuscules cristaux d'urate peuvent être, ils ont réussi à mettre dans la vessie et les ont relâchés plus tard à partir de là. Ils ont dit qu'il était encore sous sédation et sonde urétrale à cette époque. La nuit, nous dirons plus parce que le service de l'hôpital est de 24 heures 7 jours par semaine. Appel 22 heures et nous le dire et a commencé à se réveiller et devenir nerveux. Il doit avoir passé une mauvaise nuit.
Le lendemain, samedi, je appelé vers midi et en commentant que je peux aller le ramasser, ce qui est très nerveux et a seulement retiré le cathéter urétral. Avec la crise qui a une meilleure ramasser et de regarder à la maison. Nous allons rapidement à Gijon et entendu les hurlements des appels lorsque nous avons franchi la porte. Nous sommes allés à l'endroit où il était et quand nous voir embardée lentement vers moi et hurlements devenu dilué en lui parlant et caressa. Il avait mis le collier élisabéthain protectdor, mais a été mis la sangle avec la caractéristique "clic" de la pince et obtenir de gravir les échelons rapidement vers la rue. Ensuite, nous avons dû mettre dans la voiture avec le collier élisabéthain qui empêchait manoeuvre dans les sièges arrière.
Les cristaux sont envoyés à analyser et nous dire si finalement apparaître cristaux d'urate. Ils soupçonnent il est très probable que va changer le régime parce que vous avez besoin de trouver un équilibre entre l'alimentation et pour l'urate struvite recommandé. Le reste, nous aurons un autre jour.
Prendre: La décision est maintenant à Leon, à la maison, quelques jours après la chirurgie et Fray se poursuit avec collerette de protection. Il donne sur la terrasse toute la maison tout en se bloque continuellement ses coins de col, des cadres, des chaises et des tables. Il suffit de regarder pour moi et faire le coup.
Traitement: Avec Aperture. Origine JPG. Augmenter un peu de vibration de la couleur et de la définition. Dans l'histogramme je coupe aux deux extrémités. Appliquer une légère vignette.
Voilà, c'est tout!
watercolour on paper,
28x44cm
Please, larger version is available :)
For Botanical Garden of Moscow State University.
Actaea erythrocarpa (red) grows in Siberia and Actaea spicata grows in Moscol Oblast. Both of them are extremely poisonous, both used as a medicine in Russia and Tibet. I was so careful painting it, washing hands, not holding it for two long (it damages skin too). This attractive plants could be a wonderful addition to any garden, but their poisonous qualities could make it really dangerous.
'Baneberry contains cardiogenic toxins than can have an immediate sedative effect on human cardiac muscle tissue. The berries are the most poisonous part of the plant (hence the name baneberry). Children have been poisoned by eating the waxy, shiny red or white berries. Ingestion of the berries can lead to cardiac arrest and death.' Wikipedia
Vladimir Semyonovich Vysotsky (Russian: Владимир Семёнович Высоцкий, IPA: [vlɐˈdʲimʲɪr sʲɪˈmʲɵnəvʲɪtɕ vɨˈsotskʲɪj]; 25 January 1938 – 25 July 1980), was a Soviet singer-songwriter, poet, and actor who had an immense and enduring effect on Soviet culture. He became widely known for his unique singing style and for his lyrics, which featured social and political commentary in often humorous street-jargon. He was also a prominent stage- and screen-actor. Though the official Soviet cultural establishment largely ignored his work, he was remarkably popular during his lifetime, and to this day exerts significant influence on many of Russia's musicians and actors.
Vysotsky was born in Moscow at the 3rd Meshchanskaya St. (61/2) maternity hospital. His father, Semyon Volfovich (Vladimirovich) (1915–1997), was a colonel in the Soviet army, originally from Kiev. Vladimir's mother, Nina Maksimovna, (née Seryogina, 1912–2003) was Russian, and worked as a German language translator.[3] Vysotsky's family lived in a Moscow communal flat in harsh conditions, and had serious financial difficulties. When Vladimir was 10 months old, Nina had to return to her office in the Transcript bureau of the Soviet Ministry of Geodesy and Cartography (engaged in making German maps available for the Soviet military) so as to help her husband earn their family's living.
Vladimir's theatrical inclinations became obvious at an early age, and were supported by his paternal grandmother Dora Bronshteyn, a theater fan. The boy used to recite poems, standing on a chair and "flinging hair backwards, like a real poet," often using in his public speeches expressions he could hardly have heard at home. Once, at the age of two, when he had tired of the family's guests' poetry requests, he, according to his mother, sat himself under the New-year tree with a frustrated air about him and sighed: "You silly tossers! Give a child some respite!" His sense of humor was extraordinary, but often baffling for people around him. A three-year-old could jeer his father in a bathroom with unexpected poetic improvisation ("Now look what's here before us / Our goat's to shave himself!") or appall unwanted guests with some street folk song, promptly steering them away. Vysotsky remembered those first three years of his life in the autobiographical Ballad of Childhood (Баллада о детстве, 1975), one of his best-known songs.
As World War II broke out, Semyon Vysotsky, a military reserve officer, joined the Soviet army and went to fight the Nazis. Nina and Vladimir were evacuated to the village of Vorontsovka, in Orenburg Oblast where the boy had to spend six days a week in a kindergarten and his mother worked for twelve hours a day in a chemical factory. In 1943, both returned to their Moscow apartment at 1st Meschanskaya St., 126. In September 1945, Vladimir joined the 1st class of the 273rd Moscow Rostokino region School.
In December 1946, Vysotsky's parents divorced. From 1947 to 1949, Vladimir lived with Semyon Vladimirovich (then an army Major) and his Armenian wife, Yevgenya Stepanovna Liholatova, whom the boy called "aunt Zhenya", at a military base in Eberswalde in the Soviet-occupied zone of Germany (later East Germany). "We decided that our son would stay with me. Vladimir came to stay with me in January 1947, and my second wife, Yevgenia, became Vladimir's second mother for many years to come. They had much in common and liked each other, which made me really happy," Semyon Vysotsky later remembered. Here living conditions, compared to those of Nina's communal Moscow flat, were infinitely better; the family occupied the whole floor of a two-storeyed house, and the boy had a room to himself for the first time in his life. In 1949 along with his stepmother Vladimir returned to Moscow. There he joined the 5th class of the Moscow 128th School and settled at Bolshoy Karetny [ru], 15 (where they had to themselves two rooms of a four-roomed flat), with "auntie Zhenya" (who was just 28 at the time), a woman of great kindness and warmth whom he later remembered as his second mother. In 1953 Vysotsky, now much interested in theater and cinema, joined the Drama courses led by Vladimir Bogomolov.[7] "No one in my family has had anything to do with arts, no actors or directors were there among them. But my mother admired theater and from the earliest age... each and every Saturday I've been taken up with her to watch one play or the other. And all of this, it probably stayed with me," he later reminisced. The same year he received his first ever guitar, a birthday present from Nina Maksimovna; a close friend, bard and a future well-known Soviet pop lyricist Igor Kokhanovsky taught him basic chords. In 1955 Vladimir re-settled into his mother's new home at 1st Meshchanskaya, 76. In June of the same year he graduated from school with five A's.
In 1955, Vladimir enrolled into the Moscow State University of Civil Engineering, but dropped out after just one semester to pursue an acting career. In June 1956 he joined Boris Vershilov's class at the Moscow Art Theatre Studio-Institute. It was there that he met the 3rd course student Iza Zhukova who four years later became his wife; soon the two lovers settled at the 1st Meschanskaya flat, in a common room, shielded off by a folding screen. It was also in the Studio that Vysotsky met Bulat Okudzhava for the first time, an already popular underground bard. He was even more impressed by his Russian literature teacher Andrey Sinyavsky who along with his wife often invited students to his home to stage improvised disputes and concerts. In 1958 Vysotsky's got his first Moscow Art Theatre role: that of Porfiry Petrovich in Dostoyevsky's Crime and Punishment. In 1959 he was cast in his first cinema role, that of student Petya in Vasily Ordynsky's The Yearlings (Сверстницы). On 20 June 1960, Vysotsky graduated from the MAT theater institute and joined the Moscow Pushkin Drama Theatre (led by Boris Ravenskikh at the time) where he spent (with intervals) almost three troubled years. These were marred by numerous administrative sanctions, due to "lack of discipline" and occasional drunken sprees which were a reaction, mainly, to the lack of serious roles and his inability to realise his artistic potential. A short stint in 1962 at the Moscow Theater of Miniatures (administered at the time by Vladimir Polyakov) ended with him being fired, officially "for a total lack of sense of humour."
Vysotsky's second and third films, Dima Gorin's Career and 713 Requests Permission to Land, were interesting only for the fact that in both he had to be beaten up (in the first case by Aleksandr Demyanenko). "That was the way cinema greeted me," he later jokingly remarked. In 1961, Vysotsky wrote his first ever proper song, called "Tattoo" (Татуировка), which started a long and colourful cycle of artfully stylized criminal underworld romantic stories, full of undercurrents and witty social comments. In June 1963, while shooting Penalty Kick (directed by Veniamin Dorman and starring Mikhail Pugovkin), Vysotsky used the Gorky Film Studio to record an hour-long reel-to-reel cassette of his own songs; copies of it quickly spread and the author's name became known in Moscow and elsewhere (although many of these songs were often being referred to as either "traditional" or "anonymous"). Just several months later Riga-based chess grandmaster Mikhail Tal was heard praising the author of "Bolshoy Karetny" (Большой Каретный) and Anna Akhmatova (in a conversation with Joseph Brodsky) was quoting Vysotsky's number "I was the soul of a bad company..." taking it apparently for some brilliant piece of anonymous street folklore. In October 1964 Vysotsky recorded in chronological order 48 of his own songs, his first self-made Complete works of... compilation, which boosted his popularity as a new Moscow folk underground star.
In 1964, director Yuri Lyubimov invited Vysotsky to join the newly created Taganka Theatre. "'I've written some songs of my own. Won't you listen?' – he asked. I agreed to listen to just one of them, expecting our meeting to last for no more than five minutes. Instead I ended up listening to him for an entire 1.5 hours," Lyubimov remembered years later of this first audition. On 19 September 1964, Vysotsky debuted in Bertolt Brecht's The Good Person of Szechwan as the Second God (not to count two minor roles). A month later he came on stage as a dragoon captain (Bela's father) in Lermontov's A Hero of Our Time. It was in Taganka that Vysotsky started to sing on stage; the War theme becoming prominent in his musical repertoire. In 1965 Vysotsky appeared in the experimental Poet and Theater (Поэт и Театр, February) show, based on Andrey Voznesensky's work and then Ten Days that Shook the World (after John Reed's book, April) and was commissioned by Lyubimov to write songs exclusively for Taganka's new World War II play. The Fallen and the Living (Павшие и Живые), premiered in October 1965, featured Vysotsky's "Stars" (Звёзды), "The Soldiers of Heeresgruppe Mitte" (Солдаты группы "Центр") and "Penal Battalions" (Штрафные батальоны), the striking examples of a completely new kind of a war song, never heard in his country before. As veteran screenwriter Nikolay Erdman put it (in conversation with Lyubimov), "Professionally, I can well understand how Mayakovsky or Seryozha Yesenin were doing it. How Volodya Vysotsky does it is totally beyond me." With his songs – in effect, miniature theatrical dramatizations (usually with a protagonist and full of dialogues), Vysotsky instantly achieved such level of credibility that real life former prisoners, war veterans, boxers, footballers refused to believe that the author himself had never served his time in prisons and labor camps, or fought in the War, or been a boxing/football professional. After the second of the two concerts at the Leningrad Molecular Physics institute (that was his actual debut as a solo musical performer) Vysotsky left a note for his fans in a journal which ended with words: "Now that you've heard all these songs, please, don't you make a mistake of mixing me with my characters, I am not like them at all. With love, Vysotsky, 20 April 1965, XX c." Excuses of this kind he had to make throughout his performing career. At least one of Vysotsky's song themes – that of alcoholic abuse – was worryingly autobiographical, though. By the time his breakthrough came in 1967, he'd suffered several physical breakdowns and once was sent (by Taganka's boss) to a rehabilitation clinic, a visit he on several occasions repeated since.
Brecht's Life of Galileo (premiered on 17 May 1966), transformed by Lyubimov into a powerful allegory of Soviet intelligentsia's set of moral and intellectual dilemmas, brought Vysotsky his first leading theater role (along with some fitness lessons: he had to perform numerous acrobatic tricks on stage). Press reaction was mixed, some reviewers disliked the actor's overt emotionalism, but it was for the first time ever that Vysotsky's name appeared in Soviet papers. Film directors now were treating him with respect. Viktor Turov's war film I Come from the Childhood where Vysotsky got his first ever "serious" (neither comical, nor villainous) role in cinema, featured two of his songs: a spontaneous piece called "When It's Cold" (Холода) and a dark, Unknown soldier theme-inspired classic "Common Graves" (На братских могилах), sung behind the screen by the legendary Mark Bernes.
Stanislav Govorukhin and Boris Durov's The Vertical (1967), a mountain climbing drama, starring Vysotsky (as Volodya the radioman), brought him all-round recognition and fame. Four of the numbers used in the film (including "Song of a Friend [fi]" (Песня о друге), released in 1968 by the Soviet recording industry monopolist Melodiya disc to become an unofficial hit) were written literally on the spot, nearby Elbrus, inspired by professional climbers' tales and one curious hotel bar conversation with a German guest who 25 years ago happened to climb these very mountains in a capacity of an Edelweiss division fighter. Another 1967 film, Kira Muratova's Brief Encounters featured Vysotsky as the geologist Maxim (paste-bearded again) with a now trademark off-the-cuff musical piece, a melancholy improvisation called "Things to Do" (Дела). All the while Vysotsky continued working hard at Taganka, with another important role under his belt (that of Mayakovsky or, rather one of the latter character's five different versions) in the experimental piece called Listen! (Послушайте!), and now regularly gave semi-official concerts where audiences greeted him as a cult hero.
In the end of 1967 Vysotsky got another pivotal theater role, that of Khlopusha [ru] in Pugachov (a play based on a poem by Sergei Yesenin), often described as one of Taganka's finest. "He put into his performance all the things that he excelled at and, on the other hand, it was Pugachyov that made him discover his own potential," – Soviet critic Natalya Krymova wrote years later. Several weeks after the premiere, infuriated by the actor's increasing unreliability triggered by worsening drinking problems, Lyubimov fired him – only to let him back again several months later (and thus begin the humiliating sacked-then-pardoned routine which continued for years). In June 1968 a Vysotsky-slagging campaign was launched in the Soviet press. First Sovetskaya Rossiya commented on the "epidemic spread of immoral, smutty songs," allegedly promoting "criminal world values, alcoholism, vice and immorality" and condemned their author for "sowing seeds of evil." Then Komsomolskaya Pravda linked Vysotsky with black market dealers selling his tapes somewhere in Siberia. Composer Dmitry Kabalevsky speaking from the Union of Soviet Composers' Committee tribune criticised the Soviet radio for giving an ideologically dubious, "low-life product" like "Song of a Friend" (Песня о друге) an unwarranted airplay. Playwright Alexander Stein who in his Last Parade play used several of Vysotsky's songs, was chastised by a Ministry of Culture official for "providing a tribune for this anti-Soviet scum." The phraseology prompted commentators in the West to make parallels between Vysotsky and Mikhail Zoschenko, another Soviet author who'd been officially labeled "scum" some 20 years ago.
Two of Vysotsky's 1968 films, Gennady Poloka's Intervention (premiered in May 1987) where he was cast as Brodsky, a dodgy even if highly artistic character, and Yevgeny Karelov's Two Comrades Were Serving (a gun-toting White Army officer Brusentsov who in the course of the film shoots his friend, his horse, Oleg Yankovsky's good guy character and, finally himself) – were severely censored, first of them shelved for twenty years. At least four of Vysotsky's 1968 songs, "Save Our Souls" (Спасите наши души), "The Wolfhunt" (Охота на волков), "Gypsy Variations" (Моя цыганская) and "The Steam-bath in White" (Банька по-белому), were hailed later as masterpieces. It was at this point that 'proper' love songs started to appear in Vysotsky's repertoire, documenting the beginning of his passionate love affair with French actress Marina Vlady.
In 1969 Vysotsky starred in two films: The Master of Taiga where he played a villainous Siberian timber-floating brigadier, and more entertaining Dangerous Tour. The latter was criticized in the Soviet press for taking a farcical approach to the subject of the Bolshevik underground activities but for a wider Soviet audience this was an important opportunity to enjoy the charismatic actor's presence on big screen. In 1970, after visiting the dislodged Soviet leader Nikita Khrushchev at his dacha and having a lengthy conversation with him, Vysotsky embarked on a massive and by Soviet standards dangerously commercial concert tour in Soviet Central Asia and then brought Marina Vlady to director Viktor Turov's place so as to investigate her Belarusian roots. The pair finally wed on 1 December 1970 (causing furore among the Moscow cultural and political elite) and spent a honeymoon in Georgia. This was the highly productive period for Vysotsky, resulting in numerous new songs, including the anthemic "I Hate" (Я не люблю), sentimental "Lyricale" (Лирическая) and dramatic war epics "He Didn't Return from the Battle" (Он не вернулся из боя) and "The Earth Song" (Песня о Земле) among many others.
In 1971 a drinking spree-related nervous breakdown brought Vysotsky to the Moscow Kashchenko clinic [ru]. By this time he has been suffering from alcoholism. Many of his songs from this period deal, either directly or metaphorically, with alcoholism and insanity. Partially recovered (due to the encouraging presence of Marina Vladi), Vysotsky embarked on a successful Ukrainian concert tour and wrote a cluster of new songs. On 29 November 1971 Taganka's Hamlet premiered, a groundbreaking Lyubimov's production with Vysotsky in the leading role, that of a lone intellectual rebel, rising to fight the cruel state machine.
Also in 1971 Vysotsky was invited to play the lead in The Sannikov Land, the screen adaptation of Vladimir Obruchev's science fiction,[47] which he wrote several songs for, but was suddenly dropped for the reason of his face "being too scandalously recognisable" as a state official put it. One of the songs written for the film, a doom-laden epic allegory "Capricious Horses" (Кони привередливые), became one of the singer's signature tunes. Two of Vysotsky's 1972 film roles were somewhat meditative: an anonymous American journalist in The Fourth One and the "righteous guy" von Koren in The Bad Good Man (based on Anton Chekov's Duel). The latter brought Vysotsky the Best Male Role prize at the V Taormina Film Fest. This philosophical slant rubbed off onto some of his new works of the time: "A Singer at the Microphone" (Певец у микрофона), "The Tightrope Walker" (Канатоходец), two new war songs ("We Spin the Earth", "Black Pea-Coats") and "The Grief" (Беда), a folkish girl's lament, later recorded by Marina Vladi and subsequently covered by several female performers. Popular proved to be his 1972 humorous songs: "Mishka Shifman" (Мишка Шифман), satirizing the leaving-for-Israel routine, "Victim of the Television" which ridiculed the concept of "political consciousness," and "The Honour of the Chess Crown" (Честь шахматной короны) about an ever-fearless "simple Soviet man" challenging the much feared American champion Bobby Fischer to a match.
In 1972 he stepped up in Soviet Estonian TV where he presented his songs and gave an interview. The name of the show was "Young Man from Taganka" (Noormees Tagankalt).
In April 1973 Vysotsky visited Poland and France. Predictable problems concerning the official permission were sorted after the French Communist Party leader Georges Marchais made a personal phone call to Leonid Brezhnev who, according to Marina Vlady's memoirs, rather sympathized with the stellar couple. Having found on return a potentially dangerous lawsuit brought against him (concerning some unsanctioned concerts in Siberia the year before), Vysotsky wrote a defiant letter to the Minister of Culture Pyotr Demichev. As a result, he was granted the status of a philharmonic artist, 11.5 roubles per concert now guaranteed. Still the 900 rubles fine had to be paid according to the court verdict, which was a substantial sum, considering his monthly salary at the theater was 110 rubles. That year Vysotsky wrote some thirty songs for "Alice in Wonderland," an audioplay where he himself has been given several minor roles. His best known songs of 1973 included "The Others' Track" (Чужая колея), "The Flight Interrupted" (Прерванный полёт) and "The Monument", all pondering on his achievements and legacy.
In 1974 Melodiya released the 7" EP, featuring four of Vysotsky's war songs ("He Never Returned From the Battle", "The New Times Song", "Common Graves", and "The Earth Song") which represented a tiny portion of his creative work, owned by millions on tape. In September of that year Vysotsky received his first state award, the Honorary Diploma of the Uzbek SSR following a tour with fellow actors from the Taganka Theatre in Uzbekistan. A year later he was granted the USSR Union of Cinematographers' membership. This meant he was not an "anti-Soviet scum" now, rather an unlikely link between the official Soviet cinema elite and the "progressive-thinking artists of the West." More films followed, among them The Only Road (a Soviet-Yugoslav joint venture, premiered on 10 January 1975 in Belgrade) and a science fiction movie The Flight of Mr. McKinley (1975). Out of nine ballads that he wrote for the latter only two have made it into the soundtrack. This was the height of his popularity, when, as described in Vlady's book about her husband, walking down the street on a summer night, one could hear Vysotsky's recognizable voice coming literally from every open window. Among the songs written at the time, were humorous "The Instruction before the Trip Abroad", lyrical "Of the Dead Pilot" and philosophical "The Strange House". In 1975 Vysotsky made his third trip to France where he rather riskily visited his former tutor (and now a celebrated dissident emigre) Andrey Sinyavsky. Artist Mikhail Shemyakin, his new Paris friend (or a "bottle-sharer", in Vladi's terms), recorded Vysotsky in his home studio. After a brief stay in England Vysotsky crossed the ocean and made his first Mexican concerts in April. Back in Moscow, there were changes at Taganka: Lyubimov went to Milan's La Scala on a contract and Anatoly Efros has been brought in, a director of radically different approach. His project, Chekhov's The Cherry Orchard, caused a sensation. Critics praised Alla Demidova (as Ranevskaya) and Vysotsky (as Lopakhin) powerful interplay, some describing it as one of the most dazzling in the history of the Soviet theater. Lyubimov, who disliked the piece, accused Efros of giving his actors "the stardom malaise." The 1976 Taganka's visit to Bulgaria resulted in Vysotskys's interview there being filmed and 15 songs recorded by Balkanton record label. On return Lyubimov made a move which many thought outrageous: declaring himself "unable to work with this Mr. Vysotsky anymore" he gave the role of Hamlet to Valery Zolotukhin, the latter's best friend. That was the time, reportedly, when stressed out Vysotsky started taking amphetamines.
Another Belorussian voyage completed, Marina and Vladimir went for France and from there (without any official permission given, or asked for) flew to the North America. In New York Vysotsky met, among other people, Mikhail Baryshnikov and Joseph Brodsky. In a televised one-hour interview with Dan Rather he stressed he was "not a dissident, just an artist, who's never had any intentions to leave his country where people loved him and his songs." At home this unauthorized venture into the Western world bore no repercussions: by this time Soviet authorities were divided as regards the "Vysotsky controversy" up to the highest level; while Mikhail Suslov detested the bard, Brezhnev loved him to such an extent that once, while in hospital, asked him to perform live in his daughter Galina's home, listening to this concert on the telephone. In 1976 appeared "The Domes", "The Rope" and the "Medieval" cycle, including "The Ballad of Love".
In September Vysotsky with Taganka made a trip to Yugoslavia where Hamlet won the annual BITEF festival's first prize, and then to Hungary for a two-week concert tour. Back in Moscow Lyubimov's production of The Master & Margarita featured Vysotsky as Ivan Bezdomny; a modest role, somewhat recompensed by an important Svidrigailov slot in Yury Karyakin's take on Dostoevsky's Crime and Punishment. Vysotsky's new songs of this period include "The History of Illness" cycle concerning his health problems, humorous "Why Did the Savages Eat Captain Cook", the metaphorical "Ballad of the Truth and the Lie", as well as "Two Fates", the chilling story of a self-absorbed alcoholic hunted by two malevolent witches, his two-faced destiny. In 1977 Vysotsky's health deteriorated (heart, kidneys, liver failures, jaw infection and nervous breakdown) to such an extent that in April he found himself in Moscow clinic's reanimation center in the state of physical and mental collapse.
In 1977 Vysotsky made an unlikely appearance in New York City on the American television show 60 Minutes, which falsely stated that Vysotsky had spent time in the Soviet prison system, the Gulag. That year saw the release of three Vysotsky's LPs in France (including the one that had been recorded by RCA in Canada the previous year); arranged and accompanied by guitarist Kostya Kazansky, the singer for the first time ever enjoyed the relatively sophisticated musical background. In August he performed in Hollywood before members of New York City film cast and (according to Vladi) was greeted warmly by the likes of Liza Minnelli and Robert De Niro. Some more concerts in Los Angeles were followed by the appearance at the French Communist paper L’Humanité annual event. In December Taganka left for France, its Hamlet (Vysotsky back in the lead) gaining fine reviews.
1978 started with the March–April series of concerts in Moscow and Ukraine. In May Vysotsky embarked upon a new major film project: The Meeting Place Cannot Be Changed (Место встречи изменить нельзя) about two detectives fighting crime in late 1940s Russia, directed by Stanislav Govorukhin. The film (premiered on 11 November 1978 on the Soviet Central TV) presented Vysotsky as Zheglov, a ruthless and charismatic cop teaching his milder partner Sharapov (actor Vladimir Konkin) his art of crime-solving. Vysotsky also became engaged in Taganka's Genre-seeking show (performing some of his own songs) and played Aleksander Blok in Anatoly Efros' The Lady Stranger (Незнакомка) radio play (premiered on air on 10 July 1979 and later released as a double LP).
In November 1978 Vysotsky took part in the underground censorship-defying literary project Metropolis, inspired and organized by Vasily Aksenov. In January 1979 Vysotsky again visited America with highly successful series of concerts. That was the point (according to biographer Vladimir Novikov) when a glimpse of new, clean life of a respectable international actor and performer all but made Vysotsky seriously reconsider his priorities. What followed though, was a return to the self-destructive theater and concert tours schedule, personal doctor Anatoly Fedotov now not only his companion, but part of Taganka's crew. "Who was this Anatoly? Just a man who in every possible situation would try to provide drugs. And he did provide. In such moments Volodya trusted him totally," Oksana Afanasyeva, Vysotsky's Moscow girlfriend (who was near him for most of the last year of his life and, on occasion, herself served as a drug courier) remembered. In July 1979, after a series of Central Asia concerts, Vysotsky collapsed, experienced clinical death and was resuscitated by Fedotov (who injected caffeine into the heart directly), colleague and close friend Vsevolod Abdulov helping with heart massage. In January 1980 Vysotsky asked Lyubimov for a year's leave. "Up to you, but on condition that Hamlet is yours," was the answer. The songwriting showed signs of slowing down, as Vysotsky began switching from songs to more conventional poetry. Still, of nearly 800 poems by Vysotsky only one has been published in the Soviet Union while he was alive. Not a single performance or interview was broadcast by the Soviet television in his lifetime.
In May 1979, being in a practice studio of the MSU Faculty of Journalism, Vysotsky recorded a video letter to American actor and film producer Warren Beatty, looking for both a personal meeting with Beatty and an opportunity to get a role in Reds film, to be produced and directed by the latter. While recording, Vysotsky made a few attempts to speak English, trying to overcome the language barrier. This video letter never reached Beatty. It was broadcast for the first time more than three decades later, on the night of 24 January 2013 (local time) by Rossiya 1 channel, along with records of TV channels of Italy, Mexico, Poland, USA and from private collections, in Vladimir Vysotsky. A letter to Warren Beatty film by Alexander Kovanovsky and Igor Rakhmanov. While recording this video, Vysotsky had a rare opportunity to perform for a camera, being still unable to do it with Soviet television.
On 22 January 1980, Vysotsky entered the Moscow Ostankino TV Center to record his one and only studio concert for the Soviet television. What proved to be an exhausting affair (his concentration lacking, he had to plod through several takes for each song) was premiered on the Soviet TV eight years later. The last six months of his life saw Vysotsky appearing on stage sporadically, fueled by heavy dosages of drugs and alcohol. His performances were often erratic. Occasionally Vysotsky paid visits to Sklifosofsky [ru] institute's ER unit, but would not hear of Marina Vlady's suggestions for him to take long-term rehabilitation course in a Western clinic. Yet he kept writing, mostly poetry and even prose, but songs as well. The last song he performed was the agonizing "My Sorrow, My Anguish" and his final poem, written one week prior to his death was "A Letter to Marina": "I'm less than fifty, but the time is short / By you and God protected, life and limb / I have a song or two to sing before the Lord / I have a way to make my peace with him."
Although several theories of the ultimate cause of the singer's death persist to this day, given what is now known about cardiovascular disease, it seems likely that by the time of his death Vysotsky had an advanced coronary condition brought about by years of tobacco, alcohol and drug abuse, as well as his grueling work schedule and the stress of the constant harassment by the government. Towards the end, most of Vysotsky's closest friends had become aware of the ominous signs and were convinced that his demise was only a matter of time. Clear evidence of this can be seen in a video ostensibly shot by the Japanese NHK channel only months before Vysotsky's death, where he appears visibly unwell, breathing heavily and slurring his speech. Accounts by Vysotsky's close friends and colleagues concerning his last hours were compiled in the book by V. Perevozchikov.
Vysotsky suffered from alcoholism for most of his life. Sometime around 1977, he started using amphetamines and other prescription narcotics in an attempt to counteract the debilitating hangovers and eventually to rid himself of alcohol addiction. While these attempts were partially successful, he ended up trading alcoholism for a severe drug dependency that was fast spiralling out of control. He was reduced to begging some of his close friends in the medical profession for supplies of drugs, often using his acting skills to collapse in a medical office and imitate a seizure or some other condition requiring a painkiller injection. On 25 July 1979 (a year to the day before his death) he suffered a cardiac arrest and was clinically dead for several minutes during a concert tour of Soviet Uzbekistan, after injecting himself with a wrong kind of painkiller he had previously obtained from a dentist's office.
Fully aware of the dangers of his condition, Vysotsky made several attempts to cure himself of his addiction. He underwent an experimental (and ultimately discredited) blood purification procedure offered by a leading drug rehabilitation specialist in Moscow. He also went to an isolated retreat in France with his wife Marina in the spring of 1980 as a way of forcefully depriving himself of any access to drugs. After these attempts failed, Vysotsky returned to Moscow to find his life in an increasingly stressful state of disarray. He had been a defendant in two criminal trials, one for a car wreck he had caused some months earlier, and one for an alleged conspiracy to sell unauthorized concert tickets (he eventually received a suspended sentence and a probation in the first case, and the charges in the second were dismissed, although several of his co-defendants were found guilty). He also unsuccessfully fought the film studio authorities for the rights to direct a movie called The Green Phaeton. Relations with his wife Marina were deteriorating, and he was torn between his loyalty to her and his love for his mistress Oksana Afanasyeva. He had also developed severe inflammation in one of his legs, making his concert performances extremely challenging.
In a final desperate attempt to overcome his drug addiction, partially prompted by his inability to obtain drugs through his usual channels (the authorities had imposed a strict monitoring of the medical institutions to prevent illicit drug distribution during the 1980 Olympics), he relapsed into alcohol and went on a prolonged drinking binge (apparently consuming copious amounts of champagne due to a prevalent misconception at the time that it was better than vodka at countering the effects of drug withdrawal).
On 3 July 1980, Vysotsky gave a performance at a suburban Moscow concert hall. One of the stage managers recalls that he looked visibly unhealthy ("gray-faced", as she puts it) and complained of not feeling too good, while another says she was surprised by his request for champagne before the start of the show, as he had always been known for completely abstaining from drink before his concerts. On 16 July Vysotsky gave his last public concert in Kaliningrad. On 18 July, Vysotsky played Hamlet for the last time at the Taganka Theatre. From around 21 July, several of his close friends were on a round-the-clock watch at his apartment, carefully monitoring his alcohol intake and hoping against all odds that his drug dependency would soon be overcome and they would then be able to bring him back from the brink. The effects of drug withdrawal were clearly getting the better of him, as he got increasingly restless, moaned and screamed in pain, and at times fell into memory lapses, failing to recognize at first some of his visitors, including his son Arkadiy. At one point, Vysotsky's personal physician A. Fedotov (the same doctor who had brought him back from clinical death a year earlier in Uzbekistan) attempted to sedate him, inadvertently causing asphyxiation from which he was barely saved. On 24 July, Vysotsky told his mother that he thought he was going to die that day, and then made similar remarks to a few of the friends present at the apartment, who begged him to stop such talk and keep his spirits up. But soon thereafter, Oksana Afanasyeva saw him clench his chest several times, which led her to suspect that he was genuinely suffering from a cardiovascular condition. She informed Fedotov of this but was told not to worry, as he was going to monitor Vysotsky's condition all night. In the evening, after drinking relatively small amounts of alcohol, the moaning and groaning Vysotsky was sedated by Fedotov, who then sat down on the couch next to him but fell asleep. Fedotov awoke in the early hours of 25 July to an unusual silence and found Vysotsky dead in his bed with his eyes wide open, apparently of a myocardial infarction, as he later certified. This was contradicted by Fedotov's colleagues, Sklifosovsky Emergency Medical Institute physicians L. Sul'povar and S. Scherbakov (who had demanded the actor's immediate hospitalization on 23 July but were allegedly rebuffed by Fedotov), who insisted that Fedotov's incompetent sedation combined with alcohol was what killed Vysotsky. An autopsy was prevented by Vysotsky's parents (who were eager to have their son's drug addiction remain secret), so the true cause of death remains unknown.
No official announcement of the actor's death was made, only a brief obituary appeared in the Moscow newspaper Vechernyaya Moskva, and a note informing of Vysotsky's death and cancellation of the Hamlet performance was put out at the entrance to the Taganka Theatre (the story goes that not a single ticket holder took advantage of the refund offer). Despite this, by the end of the day, millions had learned of Vysotsky's death. On 28 July, he lay in state at the Taganka Theatre. After a mourning ceremony involving an unauthorized mass gathering of unprecedented scale, Vysotsky was buried at the Vagankovskoye Cemetery in Moscow. The attendance at the Olympic events dropped noticeably on that day, as scores of spectators left to attend the funeral. Tens of thousands of people lined the streets to catch a glimpse of his coffin.
According to author Valery Perevozchikov part of the blame for his death lay with the group of associates who surrounded him in the last years of his life. This inner circle were all people under the influence of his strong character, combined with a material interest in the large sums of money his concerts earned. This list included Valerii Yankelovich, manager of the Taganka Theatre and prime organiser of his non-sanctioned concerts; Anatoly Fedotov, his personal doctor; Vadim Tumanov, gold prospector (and personal friend) from Siberia; Oksana Afanasyeva (later Yarmolnik), his mistress the last three years of his life; Ivan Bortnik, a fellow actor; and Leonid Sul'povar, a department head at the Sklifosovski hospital who was responsible for much of the supply of drugs.
Vysotsky's associates had all put in efforts to supply his drug habit, which kept him going in the last years of his life. Under their influence, he was able to continue to perform all over the country, up to a week before his death. Due to illegal (i.e. non-state-sanctioned) sales of tickets and other underground methods, these concerts pulled in sums of money unimaginable in Soviet times, when almost everyone received nearly the same small salary. The payouts and gathering of money were a constant source of danger, and Yankelovich and others were needed to organise them.
Some money went to Vysotsky, the rest was distributed amongst this circle. At first this was a reasonable return on their efforts; however, as his addiction progressed and his body developed resistance, the frequency and amount of drugs needed to keep Vysotsky going became unmanageable. This culminated at the time of the Moscow Olympics which coincided with the last days of his life, when supplies of drugs were monitored more strictly than usual, and some of the doctors involved in supplying Vysotsky were already behind bars (normally the doctors had to account for every ampule, thus drugs were transferred to an empty container, while the patients received a substitute or placebo instead). In the last few days Vysotsky became uncontrollable, his shouting could be heard all over the apartment building on Malaya Gruzinskaya St. where he lived amongst VIP's. Several days before his death, in a state of stupor he went on a high speed drive around Moscow in an attempt to obtain drugs and alcohol – when many high-ranking people saw him. This increased the likelihood of him being forcibly admitted to the hospital, and the consequent danger to the circle supplying his habit. As his state of health declined, and it became obvious that he might die, his associates gathered to decide what to do with him. They came up with no firm decision. They did not want him admitted officially, as his drug addiction would become public and they would fall under suspicion, although some of them admitted that any ordinary person in his condition would have been admitted immediately.
On Vysotsky's death his associates and relatives put in much effort to prevent a post-mortem being carried out. This despite the fairly unusual circumstances: he died aged 42 under heavy sedation with an improvised cocktail of sedatives and stimulants, including the toxic chloral hydrate, provided by his personal doctor who had been supplying him with narcotics the previous three years. This doctor, being the only one present at his side when death occurred, had a few days earlier been seen to display elementary negligence in treating the sedated Vysotsky. On the night of his death, Arkadii Vysotsky (his son), who tried to visit his father in his apartment, was rudely refused entry by Yankelovich, even though there was a lack of people able to care for him. Subsequently, the Soviet police commenced a manslaughter investigation which was dropped due to the absence of evidence taken at the time of death.
Vysotsky's first wife was Iza Zhukova. They met in 1956, being both MAT theater institute students, lived for some time at Vysotsky's mother's flat in Moscow, after her graduation (Iza was 2 years older) spent months in different cities (her – in Kiev, then Rostov) and finally married on 25 April 1960.
He met his second wife Lyudmila Abramova in 1961, while shooting the film 713 Requests Permission to Land. They married in 1965 and had two sons, Arkady (born 1962) and Nikita (born 1964).
While still married to Lyudmila Abramova, Vysotsky began a romantic relationship with Tatyana Ivanenko, a Taganka actress, then, in 1967 fell in love with Marina Vlady, a French actress of Russian descent, who was working at Mosfilm on a joint Soviet-French production at that time. Marina had been married before and had three children, while Vladimir had two. They were married in 1969. For 10 years the two maintained a long-distance relationship as Marina compromised her career in France to spend more time in Moscow, and Vladimir's friends pulled strings for him to be allowed to travel abroad to stay with his wife. Marina eventually joined the Communist Party of France, which essentially gave her an unlimited-entry visa into the Soviet Union, and provided Vladimir with some immunity against prosecution by the government, which was becoming weary of his covertly anti-Soviet lyrics and his odds-defying popularity with the masses. The problems of his long-distance relationship with Vlady inspired several of Vysotsky's songs.
In the autumn of 1981 Vysotsky's first collection of poetry was officially published in the USSR, called The Nerve (Нерв). Its first edition (25,000 copies) was sold out instantly. In 1982 the second one followed (100,000), then the 3rd (1988, 200,000), followed in the 1990s by several more. The material for it was compiled by Robert Rozhdestvensky, an officially laurelled Soviet poet. Also in 1981 Yuri Lyubimov staged at Taganka a new music and poetry production called Vladimir Vysotsky which was promptly banned and officially premiered on 25 January 1989.
In 1982 the motion picture The Ballad of the Valiant Knight Ivanhoe was produced in the Soviet Union and in 1983 the movie was released to the public. Four songs by Vysotsky were featured in the film.
In 1986 the official Vysotsky poetic heritage committee was formed (with Robert Rozhdestvensky at the helm, theater critic Natalya Krymova being both the instigator and the organizer). Despite some opposition from the conservatives (Yegor Ligachev was the latter's political leader, Stanislav Kunyaev of Nash Sovremennik represented its literary flank) Vysotsky was rewarded posthumously with the USSR State Prize. The official formula – "for creating the character of Zheglov and artistic achievements as a singer-songwriter" was much derided from both the left and the right. In 1988 the Selected Works of... (edited by N. Krymova) compilation was published, preceded by I Will Surely Return... (Я, конечно, вернусь...) book of fellow actors' memoirs and Vysotsky's verses, some published for the first time. In 1990 two volumes of extensive The Works of... were published, financed by the late poet's father Semyon Vysotsky. Even more ambitious publication series, self-proclaimed "the first ever academical edition" (the latter assertion being dismissed by sceptics) compiled and edited by Sergey Zhiltsov, were published in Tula (1994–1998, 5 volumes), Germany (1994, 7 volumes) and Moscow (1997, 4 volumes).
In 1989 the official Vysotsky Museum opened in Moscow, with the magazine of its own called Vagant (edited by Sergey Zaitsev) devoted entirely to Vysotsky's legacy. In 1996 it became an independent publication and was closed in 2002.
In the years to come, Vysotsky's grave became a site of pilgrimage for several generations of his fans, the youngest of whom were born after his death. His tombstone also became the subject of controversy, as his widow had wished for a simple abstract slab, while his parents insisted on a realistic gilded statue. Although probably too solemn to have inspired Vysotsky himself, the statue is believed by some to be full of metaphors and symbols reminiscent of the singer's life.
In 1995 in Moscow the Vysotsky monument was officially opened at Strastnoy Boulevard, by the Petrovsky Gates. Among those present were the bard's parents, two of his sons, first wife Iza, renown poets Yevtushenko and Voznesensky. "Vysotsky had always been telling the truth. Only once he was wrong when he sang in one of his songs: 'They will never erect me a monument in a square like that by Petrovskye Vorota'", Mayor of Moscow Yuri Luzhkov said in his speech.[95] A further monument to Vysotsky was erected in 2014 at Rostov-on-Don.
In October 2004, a monument to Vysotsky was erected in the Montenegrin capital of Podgorica, near the Millennium Bridge. His son, Nikita Vysotsky, attended the unveiling. The statue was designed by Russian sculptor Alexander Taratinov, who also designed a monument to Alexander Pushkin in Podgorica. The bronze statue shows Vysotsky standing on a pedestal, with his one hand raised and the other holding a guitar. Next to the figure lies a bronze skull – a reference to Vysotsky's monumental lead performances in Shakespeare's Hamlet. On the pedestal the last lines from a poem of Vysotsky's, dedicated to Montenegro, are carved.
The Vysotsky business center & semi-skyscraper was officially opened in Yekaterinburg, in 2011. It is the tallest building in Russia outside of Moscow, has 54 floors, total height: 188.3 m (618 ft). On the third floor of the business center is the Vysotsky Museum. Behind the building is a bronze sculpture of Vladimir Vysotsky and his third wife, a French actress Marina Vlady.
In 2011 a controversial movie Vysotsky. Thank You For Being Alive was released, script written by his son, Nikita Vysotsky. The actor Sergey Bezrukov portrayed Vysotsky, using a combination of a mask and CGI effects. The film tells about Vysotsky's illegal underground performances, problems with KGB and drugs, and subsequent clinical death in 1979.
Shortly after Vysotsky's death, many Russian bards started writing songs and poems about his life and death. The best known are Yuri Vizbor's "Letter to Vysotsky" (1982) and Bulat Okudzhava's "About Volodya Vysotsky" (1980). In Poland, Jacek Kaczmarski based some of his songs on those of Vysotsky, such as his first song (1977) was based on "The Wolfhunt", and dedicated to his memory the song "Epitafium dla Włodzimierza Wysockiego" ("Epitaph for Vladimir Vysotsky").
Every year on Vysotsky's birthday festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky's impact in Russia is often compared to that of Wolf Biermann in Germany, Bob Dylan in America, or Georges Brassens and Jacques Brel in France.
The asteroid 2374 Vladvysotskij, discovered by Lyudmila Zhuravleva, was named after Vysotsky.
During the Annual Q&A Event Direct Line with Vladimir Putin, Alexey Venediktov asked Putin to name a street in Moscow after the singer Vladimir Vysotsky, who, though considered one of the greatest Russian artists, has no street named after him in Moscow almost 30 years after his death. Venediktov stated a Russian law that allowed the President to do so and promote a law suggestion to name a street by decree. Putin answered that he would talk to Mayor of Moscow and would solve this problem. In July 2015 former Upper and Lower Tagansky Dead-ends (Верхний и Нижний Таганские тупики) in Moscow were reorganized into Vladimir Vysotsky Street.
The Sata Kieli Cultural Association, [Finland], organizes the annual International Vladimir Vysotsky Festival (Vysotski Fest), where Vysotsky's singers from different countries perform in Helsinki and other Finnish cities. They sing Vysotsky in different languages and in different arrangements.
Two brothers and singers from Finland, Mika and Turkka Mali, over the course of their more than 30-year musical career, have translated into Finnish, recorded and on numerous occasions publicly performed songs of Vladimir Vysotsky.
Throughout his lengthy musical career, Jaromír Nohavica, a famed Czech singer, translated and performed numerous songs of Vladimir Vysotsky, most notably Песня о друге (Píseň o příteli – Song about a friend).
The Museum of Vladimir Vysotsky in Koszalin dedicated to Vladimir Vysotsky was founded by Marlena Zimna (1969–2016) in May 1994, in her apartment, in the city of Koszalin, in Poland. Since then the museum has collected over 19,500 exhibits from different countries and currently holds Vladimir Vysotsky' personal items, autographs, drawings, letters, photographs and a large library containing unique film footage, vinyl records, CDs and DVDs. A special place in the collection holds a Vladimir Vysotsky's guitar, on which he played at a concert in Casablanca in April 1976. Vladimir Vysotsky presented this guitar to Moroccan journalist Hassan El-Sayed together with an autograph (an extract from Vladimir Vysotsky's song "What Happened in Africa"), written in Russian right on the guitar.
In January 2023, a monument to the outstanding actor, singer and poet Vladimir Vysotsky was unveiled in Yuzhno-Sakhalinsk, in the square near the Rodina House of Culture. Author Vladimir Chebotarev.
After her husband's death, urged by her friend Simone Signoret, Marina Vlady wrote a book called The Aborted Flight about her years together with Vysotsky. The book paid tribute to Vladimir's talent and rich persona, yet was uncompromising in its depiction of his addictions and the problems that they caused in their marriage. Written in French (and published in France in 1987), it was translated into Russian in tandem by Vlady and a professional translator and came out in 1989 in the USSR. Totally credible from the specialists' point of view, the book caused controversy, among other things, by shocking revelations about the difficult father-and-son relationship (or rather, the lack of any), implying that Vysotsky-senior (while his son was alive) was deeply ashamed of him and his songs which he deemed "anti-Soviet" and reported his own son to the KGB. Also in 1989 another important book of memoirs was published in the USSR, providing a bulk of priceless material for the host of future biographers, Alla Demidova's Vladimir Vysotsky, the One I Know and Love. Among other publications of note were Valery Zolotukhin's Vysotsky's Secret (2000), a series of Valery Perevozchikov's books (His Dying Hour, The Unknown Vysotsky and others) containing detailed accounts and interviews dealing with the bard's life's major controversies (the mystery surrounding his death, the truth behind Vysotsky Sr.'s alleged KGB reports, the true nature of Vladimir Vysotsky's relations with his mother Nina's second husband Georgy Bartosh etc.), Iza Zhukova's Short Happiness for a Lifetime and the late bard's sister-in-law Irena Vysotskaya's My Brother Vysotsky. The Beginnings (both 2005).
A group of enthusiasts has created a non-profit project – the mobile application "Vysotsky"
The multifaceted talent of Vysotsky is often described by the term "bard" (бард) that Vysotsky has never been enthusiastic about. He thought of himself mainly as an actor and poet rather than a singer, and once remarked, "I do not belong to what people call bards or minstrels or whatever." With the advent of portable tape-recorders in the Soviet Union, Vysotsky's music became available to the masses in the form of home-made reel-to-reel audio tape recordings (later on cassette tapes).
Vysotsky accompanied himself on a Russian seven-string guitar, with a raspy voice singing ballads of love, peace, war, everyday Soviet life and of the human condition. He was largely perceived as the voice of honesty, at times sarcastically jabbing at the Soviet government, which made him a target for surveillance and threats. In France, he has been compared with Georges Brassens; in Russia, however, he was more frequently compared with Joe Dassin, partly because they were the same age and died in the same year, although their ideologies, biographies, and musical styles are very different. Vysotsky's lyrics and style greatly influenced Jacek Kaczmarski, a Polish songwriter and singer who touched on similar themes.
The songs – over 600 of them – were written about almost any imaginable theme. The earliest were blatnaya pesnya ("outlaw songs"). These songs were based either on the life of the common people in Moscow or on life in the crime people, sometimes in Gulag. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war, but rather to expose the listener to the emotions of those in extreme, life-threatening situations. Most Soviet veterans would say that Vysotsky's war songs described the truth of war far more accurately than more official "patriotic" songs.
Nearly all of Vysotsky's songs are in the first person, although he is almost never the narrator. When singing his criminal songs, he would adopt the accent and intonation of a Moscow thief, and when singing war songs, he would sing from the point of view of a soldier. In many of his philosophical songs, he adopted the role of inanimate objects. This created some confusion about Vysotsky's background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet played his role so well that until told otherwise, many of his fans believed that he was, indeed, a criminal or war veteran. Vysotsky's father said that "War veterans thought the author of the songs to be one of them, as if he had participated in the war together with them." The same could be said about mountain climbers; on multiple occasions, Vysotsky was sent pictures of mountain climbers' graves with quotes from his lyrics etched on the tombstones.
Not being officially recognized as a poet and singer, Vysotsky performed wherever and whenever he could – in the theater (where he worked), at universities, in private apartments, village clubs, and in the open air. It was not unusual for him to give several concerts in one day. He used to sleep little, using the night hours to write. With few exceptions, he wasn't allowed to publish his recordings with "Melodiya", which held a monopoly on the Soviet music industry. His songs were passed on through amateur, fairly low quality recordings on vinyl discs and magnetic tape, resulting in his immense popularity. Cosmonauts even took his music on cassette into orbit.
Musically, virtually all of Vysotsky's songs were written in a minor key, and tended to employ from three to seven chords. Vysotsky composed his songs and played them exclusively on the Russian seven string guitar, often tuned a tone or a tone-and-a-half below the traditional Russian "Open G major" tuning. This guitar, with its specific Russian tuning, makes a slight yet notable difference in chord voicings than the standard tuned six string Spanish (classical) guitar, and it became a staple of his sound. Because Vysotsky tuned down a tone and a half, his strings had less tension, which also colored the sound.
His earliest songs were usually written in C minor (with the guitar tuned a tone down from DGBDGBD to CFACFAC)
Songs written in this key include "Stars" (Zvyozdy), "My friend left for Magadan" (Moy drug uyekhal v Magadan), and most of his "outlaw songs".
At around 1970, Vysotsky began writing and playing exclusively in A minor (guitar tuned to CFACFAC), which he continued doing until his death.
Vysotsky used his fingers instead of a pick to pluck and strum, as was the tradition with Russian guitar playing. He used a variety of finger picking and strumming techniques. One of his favorite was to play an alternating bass with his thumb as he plucked or strummed with his other fingers.
Often, Vysotsky would neglect to check the tuning of his guitar, which is particularly noticeable on earlier recordings. According to some accounts, Vysotsky would get upset when friends would attempt to tune his guitar, leading some to believe that he preferred to play slightly out of tune as a stylistic choice. Much of this is also attributable to the fact that a guitar that is tuned down more than 1 whole step (Vysotsky would sometimes tune as much as 2 and a half steps down) is prone to intonation problems.
Vysotsky had a unique singing style. He had an unusual habit of elongating consonants instead of vowels in his songs. So when a syllable is sung for a prolonged period of time, he would elongate the consonant instead of the vowel in that syllable.