Filckr Problem again!!!!

well... All activity homepage of Flickr is not working for me:-(((((

I always work with it and pictures won't appear:-(((

... especially in mobile application is not from a few hours

If I go to "People" then I see all pictures from my contacts. ..

Am I the only one?

  

www.youtube.com/watch?v=YlRhOHPvXk4

Wrocław’s dwarfs (Polish: krasnale, krasnoludki) are small figurines (20-30 cm) that first appeared in the streets of Wrocław, Poland, in 2005. Since then, their numbers have been continually growing, and today they are considered a tourist attraction: those who would like to combine sight-seeing in Wrocław with "Hunting for dwarfs" are offered special brochures with a map[1] and mobile application software for smartphones.[2] As of 2015, there are over 350 dwarfs spread all over the city. Six of them are located outside the city at the LG plant in Biskupice Podgórne.

Photo taken by smartphone huawei p8 lite in panorama program. Surprisingly phone did well with a combination of pictures. Ready panorama was edited in mobile applications. Lake is located at the PDP bicycle tourist trail.

A mobile application PlanIt! was used to locate exactly where the Milky way was.

Mobile Applications

Hauteur: 5 mètres 50

Diamètre: 6 mètres

Poids: 1,4 tonne

Tressage: 1,1 km de câbles d'acier

Eclairage: minuterie réglant les cycles lumineux, à partir d'une application mobile.

La première intuition de l’artiste pour réaliser le nid fut d’élaborer une oeuvre participative. Chaque participant au projet devait se munir d’un segment en acier d’1m20 de long et le transmettre ensuite — comme un bâton relais — à une autre personne du groupe qui reproduirait le geste elle aussi. Chaque tige en métal devait être soudée aux autres jusqu’à ce que l’ensemble forme un nid symbolisant la société que nous couvons tous en nous.

Pour évoquer son installation à Chaudfontaine, l’auteur s’exprime ainsi : « J’imagine que l’œuf existait avant le nid, que la source existait avant la bouteille et que l’idée ou l’élan précédait la société. Donner le nom de Source à un nid géant habité par trois oeufs lumineux, c’est — dans une ville d’eau — vouloir rendre hommage à ce qui se situe au principe de toute chose ».

 

Height: 5 feet 50

Diameter: 6 meters

Weight: 1.4 tons

Braiding 1.1 km of steel cables

Lighting: Timer setting the light cycles, from a mobile application.

The first intuition of the artist to create the nest was to develop a participatory work. Each participant in the project was to bring a long 1m20 in steel segment and transmit it - like a relay baton - to another person in the group that would reproduce the gesture too. Each metal rod had to be welded to another until the whole forms a nest symbolizing the society we have all in us.

To evoke its installation in Chaudfontaine, the author says: "I guess the egg existed before the nest, the source existed before the bottle and that the idea or momentum preceded society. Leave the Source name to a giant nest inhabited by three eggs bright, it is - in a water city - want to pay tribute to what is the principle of all things. "

I Was Raised on the Internet focuses on how the internet has changed the way we experience the world. Due to new types of gaming and entertainment and the rise of social media and alternative modes of representation, the everyday is no longer what it used to be. The ways we interact with each other have shifted through the connected nature of telecommunications devices across the internet, including mobile applications, social media platforms, and large search engines that have become everyday tools for individuals from all walks of life. New modes, not only of seeing but also of feeling, have emerged in response to this.

A few examples of dwarfs, which I've seen in The Old Town in Wrocław :)

 

Wrocław’s dwarfs are small figurines (20-30 cm) that first appeared in the streets of Wrocław, Poland, in 2005. Since then, their numbers have been continually growing, and today they are considered a tourist attraction: those who would like to combine light-seeing in Wrocław with "Hunting for dwarfs" are offered special brochures with a map and mobile application software for smartphones. As of 2015, there are over 350 dwarfs spread all over the city. In 2001, to commemorate the Orange Alternative (Polish anti-communist movement), a monument of a dwarf (the movement’s symbol) was officially placed on Świdnicka Street, where the group’s happenings used to take place. The figures of the dwarfs, which are smaller than the Orange Alternative monument on Świdnicka Street, were placed in different parts of the city. The first five, designed by Tomasz Moczek, a graduate of The Academy of Art and Design in Wrocław, were placed in August 2005. Since that time, the number of figures has continued growing.

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Kilka przykładowych krasnali wypatrzonych na wrocławskiej starówce :)

 

Wrocławskie krasnale – wydarzenie artystyczne oraz zjawisko społeczne obejmujące swoim zasięgiem Wrocław i okoliczne gminy, a wywierające wpływ na działania artystyczne realizowane w całej Polsce. Niewielkie rzeźby krasnali, w liczbie stale rosnącej, są umieszczane we Wrocławiu sukcesywnie od 2005 (obecnie jst ich około 350). Wywodzą się od malowanych w latach 80. XX wieku graffiti, a następnie happeningów organizowanych przez ruch „Pomarańczowej Alternatywy” ośmieszających w sposób pokojowy system komunistyczny. Po upadku PRL-u krasnale uległy zapomnieniu aż do sierpnia 2005, kiedy to wrocławski rzeźbiarz Tomasz Moczek ustawił pięć pierwszych krasnali. Figurki krasnali stały się integralną częścią przestrzeni miejskiej oraz zjawiskiem społecznym. Nowe postacie tworzone są przez artystów z całej Polski, a ich opiekunami są instytucje publiczne, firmy oraz osoby prywatne. Organizowane są specjalne wycieczki szlakiem krasnali, gry plenerowe, spektakle teatralne oraz wydawane mapy dla turystów chcących połączyć odnajdywanie kolejnych figurek ze zwiedzaniem Wrocławia. Ponadto kopie krasnala Życzliwka stoją w Dreźnie, Reykjaviku, Wilnie, Guadadalajarze, Hradec Kralove i Lwowie, a w Waszyngtonie stoi krasnal Kościuszko.

Wroclaw’s dwarfs are small figurines (20-30 cm) that first appeared in the streets of Wroclaw (old Breslau), Poland, in 2005.

 

Since then, their numbers have been continually growing, and today they are considered a tourist attraction: those who would like to combine sight-seeing in Wroclaw with "Hunting for dwarfs" are offered special brochures with a map and mobile application software for smartphones.

 

As of 2015, there are over 350 dwarfs spread all over the city. Six of them are located outside the city at the LG plant in Biskupice Podgórne.

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Los enanos de Breslavia son pequeñas figuras (20-30 cm) que aparecieron por primera vez en las calles de Breslavia (antigua Breslavia), Polonia, en 2005.

 

Desde entonces, su número no ha dejado de crecer, y hoy en día se consideran una atracción turística: a quienes quieran combinar la visita a Wroclaw con la "caza de enanos" se les ofrecen folletos especiales con un mapa y un software de aplicación móvil para smartphones.

 

En 2015, hay más de 350 enanos repartidos por toda la ciudad. Seis de ellos se encuentran fuera de la ciudad, en la planta de LG en Biskupice Podgórne.

 

Wise people of a strong country!

The 34th day of the full-scale invasion of Russia and our full-scale defense is coming to an end. Successful defense.

I'm sure you saw the news today that the Russian military command allegedly decided to "reduce hostilities in the directions of Kyiv and Chernihiv."

Well, the same can be said about Chornobaivka - as if the Russian aviation simply decided to fly less, and the Russian military vehicles - to drive less. I am grateful to all our defenders, to all those who ensure the defense of Kyiv. It is their brave and effective actions that force the enemy to retreat in this direction.

However, we should not lose vigilance. The situation has not become easier. The scale of the challenges has not diminished. The Russian army still has significant potential to continue attacks against our state. They still have a lot of equipment and enough people completely deprived of rights whom they can send to the cauldron of war.

Therefore, we stay alert and do not reduce our defense efforts. Both in the north of our state and in all other regions of Ukraine, where Russian troops have temporarily entered. The defense of Ukraine is the number one task now, and everything else is derived from it.

It is on this basis that I consider the messages on the negotiation process, which is underway at various levels with representatives of the Russian Federation.

The enemy is still in our territory. The shelling of our cities continues. Mariupol is blocked. Missile and air strikes do not stop. This is the reality. These are the facts.

That is why the Armed Forces of Ukraine, our intelligence and all those who have joined the defense of the state are the only guarantee of our survival today. As a nation. As a state.

The guarantee that works.

Yes, we can call positive the signals we hear from the negotiating platform. But these signals do not silence the explosion of Russian shells.

Of course, we see all the risks. Of course, we see no reason to trust the words of certain representatives of a state that continues to fight for our destruction. Ukrainians are not naive people. Ukrainians have already learned during these 34 days of invasion and over the past eight years of the war in Donbas that only a concrete result can be trusted. The facts - if they change on our land.

Of course, Ukraine is willing to negotiate and will continue the negotiation process. To the extent that really depends on us. We expect to get the result. There must be real security for us, for our state, for sovereignty, for our people. Russian troops must leave the occupied territories. Ukraine's sovereignty and territorial integrity must be guaranteed. There can be no compromise on sovereignty and our territorial integrity. And there will not be any.

These are clear principles. This is a clear vision of the possible outcome. And to those on social networks who perceive words as if they are facts already, I want to remind one thing: we live in a democratic state and fight for our freedom. For freedom for our people.

Therefore, any decisions that are important for all our people must be made not by one person or a group of people with any political views, but by all our people. The wise people of Ukraine.

And certain countries should not even expect that certain negotiations will facilitate the lifting of sanctions against the Russian Federation. The question of sanctions cannot even be raised until the war is over, until we get back what’s ours and until we restore justice.

On the contrary, sanctions must be strengthened. Intensified weekly. And they must be effective. Not just for headlines in the media that sanctions have been imposed, but for real peace. Real.

And to ensure this, a team of Ukrainian and international experts has already begun work to assess the effectiveness of the sanctions imposed on Russia. On the Ukrainian side, this area is coordinated by Head of the President's Office Andriy Yermak, and on the international side by Michael McFaul.

During the day the rescue operation was ongoing in Mykolaiv. The debris of the building of the regional administration destroyed by Russian missile strikes was dismantled. As of now, 8 people have been reported killed and 30 wounded. It is likely that these are not final figures.

The Russian troops hit Mykolaiv very insidiously. At a time when people came to their workplaces in the morning. Thank God, most of those in the building managed to evacuate when they heard an air alarm.

This one more act of the Russian so-called denazification of Mykolaiv took place in the morning after the anniversary of liberation of the city from Nazi invaders. Mykolaiv residents remember the day of March 28, 1944. And they see who the Russian troops trying to capture their city now look like.

I spoke about Mykolaiv today in my address to the Danish Parliament and the Danish people. I invited the society of this country to take part in the reconstruction of the city and the region after the war. In the framework of our program of Ukraine's reconstruction, we involve partner states, leading companies and the best specialists in order to guarantee the speed and quality of the reconstruction of our state.

As I was told, this proposal was very positively received in Denmark.

There is also important news from our government officials. As of today, the new functionality of our "Diia" state service will be available. As I promised, the state will compensate for the loss of a house or apartment as a result of hostilities. Every citizen of ours can already submit an application in "Diia".

Applications are already available in the mobile application. You need to update the app to see this new service. And in a week it will be available offline - in the centers of administrative services. In itself, the functionality in "Diia" is quite convenient. But all the necessary details will still be clarified by our government.

The main thing is that the state will compensate for every meter of lost real estate.

In addition, government officials today expanded the program to help those institutions that support IDPs from the areas of hostilities.

Another important decision was to allocate 426 million hryvnias to pay the miners' salaries.

Traditionally, I signed several important decrees before delivering this evening address. The first is about awarding communications service employees. I am sincerely grateful to everyone who provides the fundamental basis of our lives. Who gives us connection.

By the way, on the day of the beginning of the Russian invasion, the first missile strike in the JFO area was made against them.

12 people were awarded state awards, 4 - posthumously.

The second signed decree is on awarding 126 servicemen of the Armed Forces of Ukraine, 34 of them - posthumously.

We will always be grateful to each of our defenders for the defense of our state in the Ukrainian Patriotic War against Russia.

May the memory of everyone who gave life for Ukraine live forever!

Glory to each of our heroes!

Glory to Ukraine!

This AirAsia special scheme called LINE was painted into its current livery in November 2014.

 

It advertises LINE Corporation, a Japanese company which is mainly associated in the development of mobile applications and internet services.

 

The airline's flight return to Kota Kinabalu/BKI is seen here taxiing out to a runway 07R departure as AK236.

 

This photo can also be seen here:

www.airliners.net/photo/AirAsia/Airbus-A320-216/2606418/L...

North end Pier on Carolina Beach - Original EXIF - Nikon Coolpix P510 / 8.3mm / f/3.5 / 1/200" / ISO 100 - Post Processed in Adobe Lightroom 5.4. HDR effect added using mobile application - PicsArt

Wrocław’s dwarfs are small figurines that first appeared in the streets of Wrocław in 2001. Since then, their numbers have been continually growing, and today they are considered a tourist attraction: those who would like to combine sight-seeing in Wrocław with dwarf-tracking are offered special brochures with map and mobile application software on the smartphone. Currently there are over 300 dwarfs spread all over the city. Six of them are located outside the city at the LG plant in Biskupice Podgórne.

#blackandwhite #details #wroclaw #gnomi #dwarfs #wroclawdwarfs #polonia #poland #travel #explored #krasnale #krasnoludki

I went with group of people on Sunday and wished to take a picture like this. Our leader, Wenjie, has developed a mobile application PlanIt! and it can calculate when the moon will rise on the top of which building so that we could get a picture as we want. However, the clouds were so heavy that day and we didn't get any thing. On the way back he said if you would come back again next day, you could get it. He just made a few clicks on his application and sent me a plan. Next day, I went there by myself and stand on the spot as shown in his app. Sure enough, when the moon rise up, it touched the top of America Plaza building, which was precisely what was predicted by the app.

 

This is the same picture as I posted previously. But, I used HDR to bring up more details of the buildings.

Social distance conceptual customer pay money by mobile application for prevent covid19 in coffee shop.

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.

I went with group of people on Sunday and wished to take a picture like this. Our leader, Wenjie, has developed a mobile application PlanIt! and it can calculate when the moon will rise on the top of which building so that we could get a picture as we want. However, the clouds were so heavy that day and we didn't get any thing. On the way back he said if you would come back again next day, you could get it. He just made a few clicks on his application and sent me a plan. Next day, I went there by myself and stand on the spot as shown in his app. Sure enough, when the moon rise up, it touched the top of America Plaza building, which was precisely what was predicted by the app.

5 Secrets of Successful Mobile App Developers

Mobile application developers have never had it better – or worse.

On the one hand, the research firm Gartner predicts that by 2015 there will be 1 billion iPad users and 2.5 billion smartphone owners. For app developers, this means the potential c...

 

pixelite.in/2015/10/09/5-secrets-of-successful-mobile-app...

Welcome truth seekers who long for God's appearance to download our App

 

Download Link:

App Store

Google Play

 

The Church of Almighty God app leads you to follow the Lamb's footsteps. Investigate God's work of the last days, and you will see the appearance of God.

 

The Church of Almighty God Android App Introduction

 

The Eastern Lightning, the Church of Almighty God came into being because of the appearance and work of Almighty God—the returned Lord Jesus—Christ of the last days. The church is comprised of all those who accept Almighty God’s work of the last days and are conquered and saved by God’s word. It was entirely founded by Almighty God personally, and is also personally led and shepherded by Him, and it was by no means set up by any man. Christ is the truth, the way, and the life. God’s sheep hear God’s voice. Once you read Almighty God’s word, you will see God has appeared already.

 

For the convenience of people from all walks of life who long for God’s appearance to investigate God’s work in the last days, the Church of Almighty God has launched its first mobile application, which integrates the function of e-book, music, and video playing. It includes millions of words expressed by Almighty God, Christ of the last days, as well as original hymns and various gospel movies and videos made by the Church of Almighty God. We welcome those from all walks of life who investigate the true way to use it.

 

Maybe deep within your heart, you believe that God exists. And you, wish to know the mystery of God’s creation of all things, and hope to find the Master of the heavens and earth and all things, yet you have never got any result. Then, the app lately launched by the Church of Almighty God would be a great choice for you. Here, you’ll hear the Creator’s personal utterance and find the One you’ve been searching a long time for—the Almighty, who is, and who was, and who is to come.

  

Maybe you, a godly Christian, are looking at the sky and desperately waiting for the Lord Jesus to come upon a cloud and rapture you into the kingdom of heaven. Maybe you are studying the Bible again and again, desiring to receive the provision of living water of life. Maybe you are seeking everywhere, trying to find the church with the work of the Holy Spirit… Download The Church of Almighty God app now, and you will enjoy the provision of the hidden manna in the words of Almighty God, behold the reappearance of the Savior, and get to know the practical God Himself.

 

Conveying the Creator’s heart’s voice, exchanging the pining affection over two thousand years, and bringing God and man closer together—this is our intention of developing this app. The Lord Jesus once said, “seek, and you shall find; knock, and it shall be opened to you” (Matthew 7:7). As long as we truly seek God’s appearance, we’ll surely behold God’s face. The Church of Almighty God sincerely invites you to heartily enjoy the fountain of the water of life bestowed by the Creator and experience His wondrous deeds!

 

Daily Bread

 

Extracts from God’s words and exquisite illustrations of biblical stories present you the details of God’s six-thousand-year management plan, from which you’ll know God’s disposition, understand God’s will, and thus know the unique God Himself.

 

The Spring of Living Water

Downloading various books with one touch enables you to enjoy the supply of life anytime, anywhere.

Well-designed practical function offers you the best reading experience.

 

New Songs of the Kingdom

Listen to the hymns that praise the Creator.

Synchronized lyrics allow you to learn the hymns easily.

One-touch download renders you a more convenient offline use.

 

Gospel Videos

A collection of various videos including movies, chorus, dance and singing, MVs, hymns, and recitals, which enriches the spiritual life of you who hunger and thirst for righteousness.

 

We welcome those who truly seek the truth and long for God’s appearance to contact us! You may call us or leave us a message, and we’ll contact you as soon as possible.

Juanita Vyatri, 29, works as a mobile application developer in Jakarta, Indonesia. She dropped out of college during the third semester to start a business in web and mobile application development with her husband. Now she works at home while her five children are in daycare and school. Juanita Vyatri is a practicing sunna Muslim. She started to wear a niqab, the cloth that covers everything but the eyes, at the age of 19, after meeting her husband.

“In the beginning, I felt people staring at me. Now I’m used to it, it’s not a problem."

 

Juanita Vyatri, 29, works as a mobile application developer in Jakarta, Indonesia. She dropped out of college during the third semester to start a business in web and mobile application development with her husband. Now she works at home while her five children are in daycare and school. Juanita Vyatri is a practicing sunna Muslim. She started to wear a niqab, the cloth that covers everything but the eyes, at the age of 19, after meeting her husband.

“In the beginning, I felt people staring at me. Now I’m used to it, it’s not a problem."

 

More passing the time, playing with old pics on mobile applications in hospital.

 

Taken from the viewing area of what was the world's tallest building. I think it has been beaten to that title now. © Neil Mallett

This was the only Kindle I saw in the entire park, though there were half a dozen laptop computers in evidence. Nevertheless, it was still evident that here, in the shadows of the great New York Public Library, old-fashioned books still reign supreme...

 

Note: this photo was published as an illustration in a Sep 2009 Squidoo blog titled "Buy Kindle." It was also published as an illustration in a Sep 2009 Squidoo blog titled Play Chess Against the Computer" (which makes no sense, since this guy isn't playing chess at all). And it was published in a Sep 29, 2009 blog titled "Kindle news: K-machine wiki for libraries, an email list for e-booking librarians, and an estimate of 10M Kindle owners soon." It was also published in a Nov 5, 2009 blog titled "E-reader market no more than 25M units at current prices? Plus other stats—and Sony Readers vs. p-books as pick-up bait in bars." And it was published in a Nov 7, 2009 blog titled "Write an eBook And Start Earning What You’re Worth." It was also published in a Dec 4, 2009 blog titled ¿Te vas a comprar un libro electrónico estas Navidades?"

 

Moving into 2010, the photo was published on page 10 of the class notes for a university course called "Mobile Applications." And it was published in a Feb 6, 2010 blog titled "Der Pad der Hoffnung." It was also published in a Feb 18, 2010 Lithuanian (?) blog titled "Mintys apie skaitmenines knygas (vietoje diskusijos Knygų mugėje)." It was also published in a Jun 28, 2010 blog titled "I libri di carta sono per le donne, quelli digitali per gli uomini." Don't ask me why, but it was also published in an undated (mid-July 2010) blog titled "Why Are Childrens Bikinis Padded?!?!?!?!?!?" And it was also published in an Oct 13, 2010 blog titled "Could you give me your opinion on my ebook?" It was also published in an undated (late Nov 2010) blog titled "Knowing Where To Buy Amazon Kindle 2." And it was published in a Dec 15, 2010 blog titled "TRY OUT A NOOK OR KINDLE BEFORE YOU PURCHASE."

 

Moving into 2011, the photo was published in an undated (early Jan 2011) "Where Can I Buy a Book" blog titled " I never ordered Amazon Kindle book “the New oxford American Dictionary”?" And it was published in an Apr 20, 2011 blog titled "College Students Use E-Readers More, But Still Like Print." It was also published (again) in a Jul 12, 2011 blog titled "TRY OUT A NOOK OR KINDLE BEFORE YOU PURCHASE." It was also published in an Oct 22, 2011 blog titled "Thoughts on the Battle of the Kindle vs the Nook." And it was published in a Dec 25, 2011 BlueMeanieMe blog, with the same caption and detailed notes that I had written on this Flickr page.

 

Moving into 2012, the photo was published in an Oct 17, 2012 blog titled "How To Write A Great Childrens Book." It was also published in a Nov 19, 2012 blog titled "Amazon Enhances Its Position in Academic Markets with Launch of Its Whispercast System."

 

Moving into 2013, the photo was published in a Feb 8, 2013 blog titled "Pas d'enthousiasme estudiantin pour les manuels scolaires numériquesSous les pavés, les pages..."

 

Moving into 2014, the photo was published in a Mar 21, 2014 blog titled "48 % des achats de livres numériques réalisés sur des sites d'opérateurs." And it was published in an Oct 31, 2014 blog titled "Here's How Long To Wait For A Price To Drop Before Buying The Latest Tech."

 

****************************************

 

I had a lunchtime dentist appointment in midtown Manhattan the other day, and when it was over, I decided to walk a couple blocks over to Bryant Park, behind the New York Public Library. It was a sunny day, and I thought I might see some gorgeous babes sunbathing on the park lawn in their bikinis (even being an amateur photographer is a tough job, but someone's gotta do it). If not, I thought perhaps I'd find some photogenic tourists or oddball New Yorkers that I could photograph.

 

As it turns out, almost all of the central lawn was being covered over with some kind of wooden platform -- presumably for an upcoming concert performance of some kind -- so nobody was sunbathing out on the grass. But since that area was unavailable, and since it was still the lunchtime period, the periphery around the central lawn was chock-a-block with people. There's now a cafe immediately behind (i.e., to the west) of the library itself, and it was doing a land-office business. And all along the north and south sides of the park, as well as the broader western side, there were tables and chairs and benches where people could enjoy their lunch with whatever food or entertainment they had brought along.

 

I was already aware of the pentanque court on the western side of the park, and knew that I'd find one or two good pictures there. But I didn't realize that the Parks Department had set up two ping-pong tables, as well as several tables for chess-players. In addition, there were a few card games underway, and there was also a section set aside for people who wanted to borrow local newspapers to read.

 

As for the people: I had to remind myself that because Bryant Park is smack in the middle of mid-town Manhattan (a block away from Times Square, filling the square block between 41st/42nd street, and 5th/6th Avenue), most of the people enjoying their lunch were office workers. So the men typically wore slacks and dress shirts, and a surprising number of them were also wearing suits and ties. The women wore dresses and skirts, and generally looked quite fashionable and presentable. Of course, there were also tourists and students and miscellaneous others; but overall, it was a much more "upscale" bunch of people than I'm accustomed to seeing in my own residential area on the Upper West Side.

 

I was surprised by how many people were sitting alone -- eating alone, reading alone, listening to music alone, dozing alone, or just staring into space alone. You'll see some of them in this album, though I didn't want to over-emphasize their presence; equally important, many of the loners just weren't all that interesting from a photogenic perspective. So you'll also see lots of couples, some children, a couple of families, and occasionally larger groups of people who were eating and chatting and enjoying the warm summer day.

 

Three activities dominated the scene, all of which were fairly predictable, under the circumstances: eating, reading, and talking on cellphones. You would expect people to be eating at lunch-time, of course; and you wouldn't be surprised at the notion of people reading a book as they sat behind the New York Public Library on a warm, sunny day. But the pervasiveness of the cellphones was quite astonishing ... oh, yeah, there were a few laptops, too, but fewer than I might have imagined.

 

I've photographed Bryant Park several times over the past 40 years, going back to some photos of 1969 Vietnam War protest marches that you can see in this album. I was here in the summer of 2008 to take these photos; I came back in January 2009 to take these photos of the winter scene; and I returned again for these pictures in March 2009 and these these pictures in the late spring of 2009; all of these have been collected into a Flickr "collection" of albums that you can find here. But if you want to see what New York City's midtown office workers are doing at lunch, take a look at what's in this album.

The emerging business needs demand the development of robust business applications compatible with these smartphones.

Web - www.androiddeveloper.co.in

<a href="https://en.godfootsteps.org/about-us.html"The Church of Almighty God | App

Download our application in app store

The spring of living water

One-touch download of various books enables you to enjoy the supply of life at ant time and place.

Well-designed practical function offers you the best reading experience.

 

Terms of use

 

Los Angeles skyline at dusk. View of Century City and Pacific Ocean.FuGenX Technologies Pvt Ltd. Mobile Application Development, iPhone Application Development, iPad Application Development, Android Application Development, Blackberry Application Development, Mobile Game Development, iPhone Application Development Los Angeles, UK,USA, London,California,Toronto,Los Angeles, San Francisco, Dallas, New York, Bangalore, India

Application Splashscreen:

Mobile application to view the post cards in Augmented Reality over the book page markers.

 

Tela de Abertura do Aplicativo:

Aplicativo móvel para visualizar os cartões postais em Realidade Aumentada sobre os marcador de livro.

Caresort Web Solutions is a Professional graphic Design Agency that specializes in logo design, website design, and business branding..

I Don’t See It – Peanut To Baby

 

An augmented reality booklet showing interactive 3D material on obstetric ultrasound and prenatal development

 

Since the middle of the 20th century, ultrasound has been an integrated part in the field of medicine. Especially in obstetrics, ultrasound made it possible to expand the knowledge of foetal development and thus to ensure better prenatal healthcare. However, the interpretation of 2D ultrasound images can be challenging, in particular for non-experts. Expecting mothers can face difficulties in understanding the outcomes of a prenatal ultrasound examination.

 

As the technology of augmented reality carries a high potential of efficient knowledge transfer, the idea came up to develop an interactive augmented reality booklet (“booklapp”) to support women in the understanding of prenatal development and obstetric ultrasound. So, a pocket-sized paper booklet was designed covering basic knowledge of ultrasound technology and foetal development. Furthermore, a corresponding mobile application was developed to ensure augmented reality experience: by holding the phone’s camera onto certain images in the booklet, further digital information such as 3D objects appear on the screen.

MyPick is an android mobile application store. We store music, video, wallpaper, apps and free mobile game etc.

© ITU/M.Jacobson-Gonzalez

 

The Ebola-Info-Sharing mobile application was launched by the ITU on 19 December 2014. The free to download application is to be used in the campaign against the Ebola disease outbreak. The App is intended to facilitate coordination among organizations responding to the Ebola crisis and offers the general public access to the latest Ebola news from official sources, including an interactive map on Ebola.

 

This mobile App has been developed based on inputs from organizations involved in the Fight Against the Ebola Crisis who are working directly on the ground, in the Ebola-affected countries. The App focuses on sharing precise information, locations and focal points related to Ebola with the public and organizations.

 

Official news and key points on the map are available to the public.

 

Organizations have specific features for sharing useful information with staff on the ground and other organizations, including contact and information repositories. These features are dedicated to organizations and protected by login/password combination.

 

Available for Android devices via the Google Play Store and will soon be available for iOS devices via the Apple App Store.

  

Let our professional team of PebtechSolutions PMs and developers build your next mobile app. From scoping to release, we will manage your entire app build.

 

PebtechSolutions identifies the best software development packages for a given feature set based on what has historically been used to build similar mobile applications development.

 

Read More: pebtechsolutions.com/

Emily Garza/Lourdes Navarrete

Behance: bit.ly/2VQzJYd

Adobe XD: adobe.ly/36TptFf

Shatika is a commercial business to customer app which allows user to buy women sarees,blouse etc.

VersuS: love vs turin, visualizing the realtime lives of cities

 

www.artisopensource.net/2011/10/16/versus-rome-october-15...

 

How do people express their emotions on social networks?

 

Information has become ubiquitously accessible, thus transforming our perception of cities and of the ways we work, learn, communicate and relate to other people.

 

VersuS analyzes the digital lives of cities to suggest a scenario in which digital and analog realities interweave and become one.

 

By performing realtime content harvesting on social networks we are able to perform natural language analyses on the conversations running between users, to peek into their emotions, wishes, expectations and desires.

 

We can make this information available and accessible using information visualizations, mobile applications and generative design artifacts, thus creating the tools which enable the creation of a new form of public space which merges the digital and analog lives of people, transforming them into active agents in a new idea of citizenship, enabling novel forms of expression and representation.

 

In "love VS turin", we focus on an emotional approach, visualizing the expressions of love and passion of the citizens of the city of Turin, in a realtime collective conversation.

 

The visualization is put side by side with 3D objects produced using various digital fabrication techniques, and which represent a tangible representation of the emotional condition of the whole territory of the city of Turin.

 

"Love" can be replaced with other emotions, thus enabling scenarios of focal importance for ecology, public administrations, security, economy and the overall possibility to evaluate the wellness of the people on a certain territory.

 

VersuS is designed as an evocative tool for people, institutions and organizations, fostering the creation of new, positive, imaginaries for the future of our lives and our relation with the planet and with our fellow human beings.

 

VersuS is a concept by Art is Open Source and FakePress Publishing, and it is part of the ConnectiCity initiative.

 

It has been created together with the Fablab Italia and with the Piemonte Share Festival, in a transdisciplinary process in which arts and sciences collaborate to the creation of innovative, breakthrough, scenarios.

 

VersuS will be officially presented at the 2011 edition of the Piemonte Share Festival together with the Fablab Italia.

 

Check these websites for more information:

 

www.artisopensource.net

fakepress.it

www.toshare.it

www.fablabitalia.it/

Never thought I ever see it - But there it is. How this impacts the Google Voice fiasco I do not know.

 

Want to go on record and say "I was wrong".

 

Text of press release below, taken from www.att.com/android <---URL!!!

-----------------------------------

 

AT&T Launches Major Initiative to Bring 'Apps to All'

 

Company Also Plans to Launch Five Android-Based Devices in First Half of 2010

 

Las Vegas, Nevada, January 6, 2010

newsrelease

 

AT&T today announced plans to launch five new devices from Dell, HTC and Motorola based on the Android platform. The company also announced a major initiative to expand the universe of mobile applications beyond smartphones to more mobile phones – and spur future app development for emerging consumer electronics devices, its U-verse TV platform, and enterprise and small business workplaces.

 

At the 4th annual AT&T Developer Summit in Las Vegas, executives outlined details including:

 

* New devices that will give customers the most robust choices of major operating systems (OS), including Android™, in the U.S.

* A goal to offer all major smartphone OS app stores

* An agreement with Qualcomm to standardize apps development for mid-range Quick Messaging Devices using BREW Mobile Platform. These devices are used by millions of customers who historically have not had the same convenient access as smartphone customers to the market’s hottest apps

* A new AT&T SDK (software developer kit) to help developers immediately begin to develop apps for these devices

* A significantly enhanced developer program and new relationships with global carriers that are intended to make it easier for developers to distribute apps in markets outside the U.S.

* Future initiatives to enable developers to create more apps for AT&T’s U-verse TV, emerging consumer electronics devices, and businesses

* A new AT&T Virtual Innovation Lab and two new Innovation Centers, which will help developers and spur apps development

 

“Applications help consumers realize the full value and benefits of mobile broadband networks, services and devices,” said Ralph de la Vega, president and CEO, AT&T Mobility and Consumer Markets. “Today some AT&T customers can take advantage of more than 100,000 apps – but only if they have the right handset. Our goal is to bring more apps to millions more of our customers who want convenient access to the market’s hottest apps. At the same time, in the future, we plan to go well beyond mobile devices to spur apps development.”

 

In addition to ultimately giving more customers more choices of applications, the long-term strategic initiatives announced today will make it easier for developers to cost effectively create applications and reach broader audiences, and help AT&T drive data revenues.

 

Extend Smartphone Leadership

AT&T will further its leadership in smartphones with the planned launch of five new devices from Dell, HTC and Motorola based on the Android platform. Those devices, which are scheduled to be available during the first half of 2010, include:

 

* A Motorola smartphone, powered by MOTOBLUR, with a unique form factor and an AT&T exclusive

* Dell’s first smartphone, based on the Android platform and an AT&T exclusive

* A HTC smartphone, based on the Android platform, and an AT&T exclusive

 

AT&T customers with these devices will benefit not only from the nation’s fastest 3G network but also the ability to simultaneously talk on the phone while surfing the Web or reading email. Customers can sign up for email notifications as more details are available at www.att.com/android.

 

In addition, AT&T announced its goal to lead the industry in application choices for smartphone customers by offering all major app stores. It will preload the corresponding store for each device -- giving customers convenient access to thousands of apps optimized for their smartphone. Today, AT&T added to existing agreements with Nokia for Ovi store and Microsoft for Windows Marketplace by announcing an agreement for Android Market. It expects to announce more app store agreements in the near future and will offer carrier billing as an easy and convenient payment option for as many stores as possible.

 

‘Apps for All’ by Standardizing Apps Development with Brew Mobile Platform

De la Vega also announced a significant new agreement with Qualcomm to standardize apps development by adopting BREW Mobile Platform. With this agreement, AT&T intends to make BREW Mobile Platform its primary operating system platform for Quick Messaging Devices, one of the company’s fastest growing categories of devices.

 

AT&T customers with these devices historically haven’t had the same convenient access as AT&T smartphone customers to thousands of compelling, new applications. Since AT&T launched its pioneering line-up of Quick Messaging Devices in fall 2008, about 30 percent of the company’s postpaid customers who are new or upgrading have purchased this type of device. AT&T is committed to spurring innovation and apps development for the millions of customers in this category.

 

Quick Messaging Devices are integrated devices that are value priced and texting centric; they have full QWERTY keyboards, either physical or virtual, and, since this past fall, full Web browsing capabilities. Customers with these devices are more likely to demand apps, subscribe to messaging and data plans, and are a large potential market for application developers, according to AT&T research.

 

AT&T Chief Marketing Officer David Christopher announced plans to begin rolling out Quick Messaging Devices with BREW Mobile Platform in the second half of the year, so that by year end 2011, about 90 percent of AT&T’s devices in this segment are planned to be based on BREW Mobile Platform. AT&T announced that Samsung will be its first device maker to launch a Quick Messaging Device featuring BREW Mobile Platform. HTC, LG and Pantech also are building devices featuring BREW Mobile Platform for planned availability in late 2010 or early 2011.

 

“Today, developers must essentially rebuild apps for different handsets and operating systems, increasing their costs, slowing the pace of innovation and stalling the delivery of mobile apps to customers,” Christopher said. “We want to tear down the barriers and make it much easier for developers to reach our customers – and for our customers to access apps. Moving to one platform for this fast growing segment of devices will help developers reach millions more customers who want easy access to the hottest mobile apps.”

 

To help developers jumpstart apps development for AT&T’s BREW Mobile Platform devices, Christopher announced a new AT&T SDK which features support for BREW Mobile Platform, continued support for Java and widgets, and includes tools to help developers tap into AT&T network capabilities as they design and code their applications. The new AT&T SDK is available starting today at sdk.developer.att.com.

 

Taking the AT&T Developer Program to the Next Level

AT&T has a longstanding commitment to the developer community. It was among the first major carriers to offer a developer program and has been rated the top carrier development program for the past three years by Evans Data. Today, AT&T executives also announced plans, including some launch schedules, for a series of new or enhanced developer resources including:

 

Technical support for developers via live chat -- something no other carrier, operating system provider or handset maker offers today – and a tripling of overall tech support by mid-2010.

 

* Revenue share featuring a standardized 70/30 split for third-party developers in the AT&T App Center.

* AT&T Sandbox, a virtual network environment for developers to test and evaluate applications, which is planned to be available in 2Q 2010.

* AT&T Developer Dashboard, a tool that will let developers track the status of their app once submitted to AT&T, support digital signing of business agreements with AT&T, allow developers to set prices for their apps, and provide performance metrics and customer satisfaction feedback. The dashboard is available now for enterprise application developers and the certification of emerging devices. And for AT&T’s consumer development community, the dashboard will also provide needed automation which is planned for the first quarter of 2010.

* New marketing and referral relationships announced today between AT&T and other global carriers using GSM, the de facto world standard for wireless technology. The companies intend to create streamlined processes that help developers make their applications available to their combined base of hundreds of millions of customers.

* AT&T Developer Council, an advisory group hosted by AT&T and made up of leading development and technology companies and other influencers, such as EA Games, Telenav and Bonfire Media.

 

AT&T also announced a trial program with WaveMarket to make network location information accessible through Veriplace, WaveMarket’s cloud location aggregation platform currently in use by more than 1,000 developers. Veriplace allows SMS, Web, WAP and IVR developers to develop location-aware apps and services across device categories and participating carriers. The trial program will launch in the coming weeks.

 

AT&T Chief Technology Officer John Donovan also said that a new AT&T Virtual Innovation Lab will open in Atlanta in the second quarter to provide developer support for speech, location and messaging APIs (application programming interfaces). In addition, two new Innovation Centers, one in the East and one in the West, are planned for late 2010 to provide 3G and 4G RF (radio frequency) development support, testing and demos.

 

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blog.ted.com/2010/06/fellows_friday.php

 

From pollution-eating robots to abstract animated films, TED Fellow Cesar Harada is involved in an ocean of projects. He was able to squeeze in this interview with TED, where he talks about architecture, his love of the sea and a special cartoon cat.

 

What are the most important things you're working on right now?

 

The project I'm working on right now is called the "Energy Animal." I had the first iteration when I was working for the British government Renewable Energies Department at the University of Southampton in the Fluid Mechanics Laboratory.

 

I built a prototype that makes energy from the waves, the wind, and the sun simultaneously. It's a device that can be working in any type of weather condition, anywhere. It doesn't necessarily produce a lot of energy, but produces it steadily.

 

I'm still working very much on the World Environment Action. It's in coordination with Ushahidi [another TED Fellows project]. Three weeks ago I was in Kenya working on this environmental monitoring software that I'm going to use in the next application.

 

Since two weeks ago I am a researcher at MIT SENSEable City Lab and I am working on the project I mentioned before called Energy Animal. We're trying to build devices that make energy while collecting pollution -- apprehending pollution as a resource. Originally I was commissioned by MIT to collect the North Pacific Garbage Patch, but I've been redirected to work on the Gulf of Mexico oil spill, so now I am designing a machine to collect oil. It will use oil as a combustible, as a gasoline fuel to actually move around. The idea is to make autonomous robots that would swarm around and collect garbage or different types of pollution.

 

I'm designing not one specific device, but a floating open source design "framework" so it can generate many other boats for different applications. It can be used for the oil spill, or the North Pacific Garbage Patch or even for fresh water to purify, for example, the Laguna Venice, where the prototype will be presented for the International Architecture Biennale to represent the MIT SENSEable City Lab.

 

I am now pushing the lab staff to help me make this robot self-replicating: a robot that can fabricate its own children. Since we are collecting a lot of raw material, the best use we can make of that material is fabricating more robots to accelerate the cleaning. So that means that you make a robot, and if it accumulates energy and raw material, it can build, if you want, a baby -– the same of its own. So it's very futuristic. That is also why we are not working at solving this precise problem but more for longer-term.

 

We have problems that are very big, like the North Pacific Garbage Patch, and we never have the money to actually build an entire fleet. So we'd rather build a fleet that builds itself!

 

How will one device feed off of completely different types of pollution?

 

What I was saying about "framework" -- it's very much like the evolutionary process. You can't have a robot that does everything. The idea is that we build a framework, for example from a simple kind of boat, and you can swap organs. So say that you go for the oil spill -- you will have some oil combustion chamber. In Venezia you will have some anaerobic digester so it will make energy from gas -- methane, propane -- from organic waste digestion, and also create fertilizer. And if it's in the case of the North Pacific Gyre, it will collect the plastic, process some of it, and some will be reused to fabricate more raw materials. So the robots themselves will be made of plastic.

 

Read more of this interview with Cesar Harada after the jump >>

 

(Continued)

 

You have different labs like the "Energy Animal" that make up your overarching project, Open_Sailing. Tell me more about this project.

 

The purpose of Open_Sailing is to build an International Ocean Station. That's really the main target. Whatever the intermediary experiments we're doing, the objective is the International Ocean Station. So if NASA has as a target to explore space, Open_Sailing's would be to explore the ocean, and to do so, involving probably inventing this new generation of devices.

 

Open_Sailing has many different applications. For example the Instinctive Architecture could be inhabited human beings. For the Energy Animal, it's autonomous drones. The Nomadic Ecosystem are moving farms. They are designed for a world even without humans.

  

ABOVE: Cesar and a Nomadic Ecosystem float prototype

You compare your project to the International Space Station. A lot of expertise, money and time were invested in that. You've said you expect to achieve something comparable with a fraction of the resources. Why are you convinced you can succeed?

 

The first reason is that many, many people have access to the sea, so the testing ground is near us. Secondly, I'd like to actually probably moderate what I said because I said this when I was quite early in the research. And a few days after I wrote these words for the first time, I went to meet Professor Masubuchi in the MIT Center for Ocean Engineering. He happens to also have been the chief welding engineer of NASA for the rocket that went on the moon.

 

We had a long discussion and I asked him why we don't have already an International Ocean Station if we already have an International Space Station. And he told me that it's because the International Ocean Station is much more complicated to make. And that is also why he himself was transferred from NASA to ocean engineering –- because the ocean is the next frontier.

 

Space is empty, cold, and the gravitational forces are very predictable, depending on where you are in space. You can deploy these very huge solar panels, like 100-meter long solar panels, with almost no support because there is little gravity. It's mostly empty space, it's cold and there's no acidity.

 

But in the ocean you have the mechanical action of the waves, some of which impact can be tens of tons per square meter. You have salinity, UV, winds, strong currents all the time, and the conditions are changing very, very quickly. In other words the surface of the ocean is very, very difficult. And on the bottom you have extreme high pressures, darkness….

 

How did you move from architecture to designing ocean structures?

 

I'm not a qualified architect, I didn't graduate from architecture. My family is in construction. Most of my uncles are structure engineers in Japan, which is subject to a lot of earthquakes, so since I'm a kid I've been building houses and participating in architectural plans for buildings. When I was in Kenya, again, I was construction manager, so I'm not an architect officially but I'm an architect in the fact. Also my father actually is a professor in an architecture school. These 2 last years I was assistant of the Architect Usman Haque, Angel Borrego Cubero and the biochemist Natalie Jeremijenko.

 

I've always been passionate about the ocean. Since I was a kid –- before I could walk -- I was a very good baby swimmer [laughs]. Actually the first time I went to the hospital, it was because when I was four years old, I was left alone and I went smashing myself in the waves. I was found on the beach side, my lungs full of sand and my nose cavity full of pebbles. So I had to have my first operation to remove the pebbles out of my nose when I was four.

  

ABOVE: Cesar on his boat, Vela

And since I'm passionate about sailing and windsurfing … that is also why I'm in MIT, because a few minutes from the office I can sail. So 3 or 4 times a week I am windsurfing and sailing now. I'm really happy here.

 

Let's talk about World Environment Action.

 

World Environment Action is a website that is crowdsourcing environmental data. The idea is that to be getting everybody to participate to create the most reliable and multi-platform service. We are using Ushahidi, which is a crisis reporting system, so people can use their mobile phones, they can send just a simple SMS, MMS, they can make a phone call, or they can go directly on the website w-e-a.org and report an environmental problem.

 

The idea is very simple. If you are passing in front of some environmental damage, you can just take a picture with your mobile phone and you upload it to the website, and almost in real time –- maybe just a couple of hours after because we have to moderate every post -- then you will be able to see this environmental report, amongst a lot of others. So the idea is that everybody can become an environmental activist. You don't have to be part of an NGO, or you don't have to be part of a government, or claim that you belong to anybody, you can just actively report and take action against environmental problems.

 

Ushahidi was started by two TED Fellows. Can you tell us more about that partnership?

 

The whole TED experience instantly bounded a TED family that one can only be delighted to be part of. I was looking for partners in software development and environmental monitoring, I found Erik Hersman and the Ushahidi project. I was looking for good programmers, I found Jessica Colaco. Together Erik and Jessica are building the iHub in Nairobi, the Kenyan innovation incubator that will soon be the hottest place in mobile application development in East Africa.

  

ABOVE: Jessica Colaco, Erik Hersman and Cesar Harada: A TED Fellows Coalition

I brought them an ambitious project clearly answering the question TED asked: "What the World Needs Now." The answer: a powerful environmental governance. We are currently looking for partners and contributors for this world-changing project. We can make it happen, together.

 

Let's talk about the films you've produced.

 

Films used to be my goal, but now I consider them only a way to share ideas. So I actually studied animation film until I was 23. I made a couple of things but now when I look back at them I feel they are very intimate and poetic.

 

Maybe three weeks ago I just republished a film that I re-masterized. One is called Arvo Part -- it's a remix of Arvo Pärt, one of my favorite composers, and it's really abstract. The second is called disponible (available), a roadtrip I made in nature on a boat I fabricated for the purpose of the film.

 

What cartoon character are you most similar to?

 

I wish Doraemon! Doraemon is a mechanical cat. He's such an important character. Basically he's a big lazy cat and he's really funny and ingenious. He has a big pocket in front of him like on his belly here, and he always pulls out the craziest gadgets from it. He's the best product designer in history.

 

Anything else before we wrap up?

 

I have to stress that a lot of what I do is very propositional. The International Ocean Station is a very, very big endeavor, and the World Environment Action is the same –- it's a very ambitious project. What MIT has asked me to solve are global-scale problems.

 

Look at me, I'm just a little guy, I do my best, I don't sleep very much already, I don't know how much I can do for the world, but I have lots of ideas and I try hard. I really consider myself a contributor. Even if in my lifetime none of the stuff that I'm talking about and working on everyday exists before I die, it's ok. If I can contribute to the fact that it comes into existence one day, for me it's a very big satisfaction.

  

Posted by Alana Herro

 

Santa Maria de Ovila is a former Cistercian monastery built in Spain beginning in 1181 on the Tagus River near Trillo, Guadalajara, about 90 miles (140 km) northeast of Madrid. During prosperous times over the next four centuries, construction projects expanded and improved the small monastery. Its fortunes declined significantly in the 1700s, and in 1835 it was confiscated by the Spanish government and sold to private owners who used its buildings to shelter farm animals. American publisher William Randolph Hearst bought parts of the monastery in 1931 with the intention of using its stones in the construction of a grand and fanciful castle at Wyntoon, California, but after some 10,000 stones were removed and shipped, they were abandoned in San Francisco for decades. These stones are now in various locations around California: the old church portal has been reassembled at the University of San Francisco, and the chapter house is being reassembled by Trappist monks at the Abbey of New Clairvaux in Vina, California. In Spain, the new government of the Second Republic declared the monastery a National Monument in June 1931, but not in time to prevent the mass removal of stones. Today, the remnant buildings and walls stand on private farmland. (more...)

 

RKO Pictures is an American film production and distribution company. It was one of the Big Five studios of Hollywood's Golden Age. The business was formed after the Keith-Albee-Orpheum (KAO) theater chains and Joseph P. Kennedy's Film Booking Offices of America (FBO) studio were brought together under the control of the Radio Corporation of America (RCA) in October 1928. RKO has long been celebrated for its cycle of musicals starring Fred Astaire and Ginger Rogers in the mid- to late 1930s. Actors Katharine Hepburn and, later, Robert Mitchum had their first major successes at the studio. Cary Grant was a mainstay for years. The work of producer Val Lewton's low-budget horror unit and RKO's many ventures into the field now known as film noir have been acclaimed by film critics and historians. The studio produced two of the most famous films in motion picture history: King Kong (poster pictured) and Citizen Kane. Maverick industrialist Howard Hughes took over RKO in 1948. After years of decline under his control, the studio was acquired by the General Tire and Rubber Company in 1955. The original RKO Pictures ceased production in 1957 and was effectively dissolved two years later. (more...)

 

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July 16

 

Jay Farrar was a founding member of Uncle Tupelo and his decision to leave the band resulted in the band's breakup.

 

Uncle Tupelo was an alternative country music group from Belleville, Illinois, active between 1987 and 1994. Jay Farrar (pictured), Jeff Tweedy, and Mike Heidorn formed the band after the lead singer of their previous band, The Primitives, left to attend college. The trio recorded three albums for Rockville Records, before signing with Sire Records and expanding to a five-piece. Shortly after the release of the band's major label debut album Anodyne, Farrar announced his decision to leave the band due to a soured relationship with his co-songwriter Tweedy. Uncle Tupelo split on May 1, 1994, after completing a farewell tour. Following the breakup, Farrar formed Son Volt with Heidorn, while the remaining members continued as Wilco. Although Uncle Tupelo broke up before they achieved commercial success, the band is renowned for its impact on the alternative country music scene. The group's first album, No Depression, became a byword for the genre and was widely influential. Uncle Tupelo's sound was unlike popular country music of the time, drawing inspiration from styles as diverse as the hardcore punk of The Minutemen and the country instrumentation and harmony of the Carter Family and Hank Williams. Farrar and Tweedy lyrics frequently referred to Middle America and the working class of Belleville. (more...)

 

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July 17

 

Courageous photographed during World War I

 

The Courageous class comprised three battlecruisers built for the Royal Navy during World War I. Nominally designed to support Admiral of the Fleet Lord John Fisher's Baltic Project, which was intended to land troops on the German Baltic Coast, ships of this class were fast but very lightly armoured with only a few heavy guns. To maximize their speed, the Courageous-class battlecruisers were the first capital ships of the Royal Navy to use geared steam turbines and small-tube boilers. The first two ships, Courageous and Glorious, were commissioned in 1917 and spent the war patrolling the North Sea. Their half-sister Furious was designed with a pair of 18-inch (457 mm) guns, the largest guns ever fitted on a ship of the Royal Navy, but was modified during construction to take a flying-off deck and hangar in lieu of her forward gun turret and barbette. All three ships were laid up after the end of the war and were rebuilt as aircraft carriers during the 1920s. (more...)

 

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July 18

 

Sunset on Ganoga Lake

 

Ganoga Lake is a natural lake in Colley Township in southeast Sullivan County in Pennsylvania, United States. The Ricketts family purchased the lake in the early 1850s, and built a stone house on the lake shore by 1852 or 1855; this served as a hunting lodge and tavern. R. Bruce Ricketts added the lake to his extensive holdings after the American Civil War, and in 1873 built a large wooden addition north of the stone house, which became the North Mountain House hotel. The hotel had one of the first summer schools in the United States in 1876 and 1877. After the death of R. Bruce Ricketts in 1918, his heirs sold much of his 80,000 acres (32,000 ha) to the state for Pennsylvania State Game Lands and Ricketts Glen State Park. The state tried to purchase the lake in 1957, but was outbid by investors who turned the land around it into a private housing development; as such it is "off limits" to the public. Ganoga Lake is on the Allegheny Plateau, just north of the Allegheny Front, in sedimentary rocks from the Pocono Formation. The Wisconsin Glaciation some 20,000 years ago changed the drainage patterns of the lake; this diverted its waters to Kitchen Creek and carved the 24 named waterfalls in Ricketts Glen State Park in the process. (more...)

 

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July 19

 

The Stolt Kittiwake heading toward the Mersey Estuary, 2005

 

The Manchester Ship Canal is a river navigation 36 miles (58 km) long in the North West of England. Starting at the Mersey Estuary near Liverpool, it generally follows the original routes of the rivers Mersey and Irwell through the historic counties of Cheshire and Lancashire. Major landmarks along its route include the Barton Swing Aqueduct and Trafford Park. By the late 19th century the Mersey and Irwell Navigation had fallen into disrepair and was often unusable, and Manchester's business community viewed Liverpool's dock and the railway companies' charges as excessive. A ship canal was proposed as a way of giving ocean-going vessels direct access to Manchester. Construction began in 1887; it took six years and cost about £15 million. When the ship canal opened in January 1894 it was the largest river navigation canal in the world. Although it enabled the newly created Port of Manchester to become Britain's third busiest portdespite the city being about 40 miles (64 km) inlandthe canal never achieved the commercial success its sponsors had hoped for. Ships often returned to sea loaded with ballast rather than goods for export, and gradually the balance of traffic moved to the west, resulting in the closure of the terminal docks at Salford. As of 2011, traffic had decreased from its peak in 1958 of 18 million long tons (20 million short tons) of freight each year to about 7 million long tons (7.8 million short tons). The canal is now privately owned by Peel Ports. (more...)

 

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July 20

 

Illustration from William J. Long's School of the Woods (1902), showing an otter teaching her young to swim

 

The nature fakers controversy was an early 20th-century American literary debate highlighting the conflict between science and sentiment in popular nature writing. Following a period of growing interest in the natural world beginning in the late 19th century, a new literary movement, in which the natural world was depicted in a compassionate rather than realistic light, began to take shape. Works such as Ernest Thompson Seton's Wild Animals I Have Known (1898) and William J. Long's School of the Woods (1902) popularized this new genre and emphasized sympathetic and individualistic animal characters. In March 1903, naturalist and writer John Burroughs published an article entitled "Real and Sham Natural History" in the Atlantic Monthly. Lambasting writers for their seemingly fantastical representations of wildlife, he also denounced the booming genre of realistic animal fiction as "yellow journalism of the woods". Burroughs' targets responded in defense of their work in various publications, as did their supporters, and the resulting controversy raged in the public press for nearly six years. Dubbed the "War of the Naturalists", the controversy effectively ended when President Theodore Roosevelt publicly sided with Burroughs, publishing his article "Nature Fakers" in the September 1907 issue of Everybody's Magazine. Roosevelt popularized the negative colloquialism by which the controversy would later be known to describe one who purposefully fabricates details about the natural world. (more...)

 

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