title: Femke Heemskerk

texts:
Frederike Johanna Maria "<mask>" <mask> (; born 21 September 1987) is a former Dutch competitive swimmer who mainly specializes in freestyle, but also has a strong backstroke and medley. As part of the Dutch team, she holds the short course world records in the 4 × 50 m freestyle relay, 4 × 100 m freestyle relay, and 4×200 m freestyle relay, all set in Doha in 2014. Individually she is owner of six national records, four in long course, 100 m and 200 m freestyle, 100 m backstroke, and 200 m individual medley, and two in short course, 200 m freestyle and 200 m individual medley. She currently represents Energy Standard in the International Swimming League. Swimming career

Early career
<mask> made her international debut at the World LC Championships 2005 in Montreal as a relay-swimmer. She only swum in the heats of the 4×100 m freestyle and the 4×200 m freestyle events. She competed in the European LC Championships 2006 and the European Short Course Swimming Championships.But individually she did not advance past the heats in both events. At the World LC Championships 2007 she won a bronze medal in the 4×100 m freestyle together with Inge Dekker, Ranomi Kromowidjojo and Marleen Veldhuis. At the 2007 European Short Course Swimming Championships in Debrecen she surprisingly finished 6th in her first international final, the 100 m freestyle. She also finished 10th in the 200 m freestyle. Spring 2008
In 2008 she swam at the 2008 European Aquatics Championships on the world record breaking 4×100 m freestyle team, which also won bronze in the World Championships the year before. With the same team she ended fourth in the 4×200 m freestyle relay. Individually she did not reach the semi-finals.The next month she competed in Manchester at the World SC Championships 2008 where she again broke two relay records in the 4×200 m freestyle with the same team as in Eindhoven. In the 4×100 m freestyle Hinkelien Schreuder replaced Ranomi Kromowidjojo who suffered from an elbow injury. She won her first individual medal, a silver medal, in the 200 m freestyle at the last day of the tournament. During the National Championships in June 2008, Heemskerk lowered three national records on the long course, 200 m freestyle, 200 m individual medley and 100 m backstroke. 2008 Summer Olympics
At the 2008 Summer Olympics in Beijing she won a gold medal with the 4×100 m freestyle relay. She did so alongside Inge Dekker, Ranomi Kromowidjojo and Marleen Veldhuis in a time of 3:33.76, just 0.14 outside their own world record. The day after she competed individually in the 200 m individual medley where she finished 28th during the heats.<mask> was the lead-off swimmer in both 4×200 m freestyle and 4×100 m medley relays, both of which did not qualify for the finals. Fall 2008
After the Olympics <mask> returned to competition at the 2008 European Aquatics Championships where she qualified for the 2009 World Aquatics Championships in the 100 m and 200 m freestyle. The week afterwards she participated in the 2008 European Short Course Swimming Championships in Rijeka, Croatia. There she won a silver medal in the 200 m freestyle behind Federica Pellegrini. She also finished fifth in the 100 m medley. At the end of 2008 she became Amsterdam Sportswoman of the year

2011
In 2011 <mask> won a gold medal at the 2011 World Aquatics Championships as part of the 4 × 100 m freestyle relay alongside Inge Dekker, Ranomi Kromowidjojo and Marleen Veldhuis in a time of 3:33.96. She anchored the team with a split time of 52.46, the fastest split in the final by 0.53.2012

London Olympics
At the 2012 Summer Olympics in London, <mask> and her teammates – Ranomi Kromowidjojo, Inge Dekker, Marleen Veldhuis, and Hinkelien Schreuder – won a silver medal in the 4 × 100 m freestyle relay, an event in which they were the defending champions. The gold medal went to Australia. 2014
<mask> won her first individual world title at the 2014 world short course championships in Doha, Qatar, in the 100 m freestyle, ahead of Sarah Sjöström and Kromowidjojo. She won three more gold medals in the freestyle relays. In the 4 × 100 m freestyle relay, she swam a split time of 50.58 s, the only split under 51 seconds in the field. 2015
After finishing outside the medals in her individual events (the 100 and 200 meter freestyle) at the 2015 World Aquatics Championships in Kazan, <mask> decided to move to France to train with coach Philippe Lucas. 2016 Olympics
Heemskerk qualified for the 2016 Summer Olympics in Rio de Janeiro, her third Olympics, in the 100 and 200 meter freestyle and the 4 × 100 and 4 × 200 meter freestyle relays.With the 4 × 100 meter freestyle relay she finished 4th in the final, after having medalled in the past two Olympics. In the 200 meter freestyle, she finished 16th in the semifinals. 2017
3-5 March 2017 Heemskerk competed in Swim Cup The Hague where she won the 200 m freestyle with a time of 1:56.59, came second in the 100 m freestyle (time 54.19), and came third in the 50 m freestyle with a time of 25.29. Heemskerk competed in KZNB Challenger in Dordrecht, the Netherlands, on 18 and 19 March 2017. She finished first in 100 m freestyle with a time of 54.27. Heemskerk took part in the Swim Cup Eindhoven, the Dutch Championships and also qualification competitions for the 2017 World Aquatics Championships in Budapest on 14-17 July 2017. In the Swim Cup Eindhoven, Heemskerk won the 200 m freestyle event with a time of 1:56.62, securing a place for Budapest.Silver and bronze medals went to Isabel Gose and Robin Neumann who were at least 2.5 seconds slower than <mask>. In the 100 m freestyle event <mask> reached the finals and finished second with a time of 53.77, securing qualification for the Budapest championships. International Swimming League
In the Autumn of 2019 she was member of the inaugural International Swimming League swimming for the Energy Standard International Swim Club, who won the team title in Las Vegas, Nevada, in December. Personal bests

References

External links

1987 births
Living people
People from Kaag en Braassem
World record holders in swimming
Olympic swimmers of the Netherlands
Swimmers at the 2008 Summer Olympics
Swimmers at the 2012 Summer Olympics
Swimmers at the 2016 Summer Olympics
Swimmers at the 2020 Summer Olympics
Olympic gold medalists for the Netherlands
Dutch female backstroke swimmers
Dutch female freestyle swimmers
Dutch female medley swimmers
World Aquatics Championships medalists in swimming
Olympic silver medalists for the Netherlands
Medalists at the FINA World Swimming Championships (25 m)
European Aquatics Championships medalists in swimming
Medalists at the 2012 Summer Olympics
Medalists at the 2008 Summer Olympics
Olympic gold medalists in swimming
Olympic silver medalists in swimming
European Championships (multi-sport event) silver medalists

masks:
Femke
Heemskerk
Femke Heemskerk
Heemskerk
Heemskerk
Heemskerk
Heemskerk
Heemskerk
Heemskerk
Heemskerk
Heemskerk


title: Vladimir Vysotsky

type: original

texts:
<mask> (; 25 January 1938 – 25 July 1980), was a Soviet singer-songwriter, poet, and actor,  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 achieved remarkable fame during his lifetime, and to this day exerts significant influence on many of  Russia's popular musicians and actors years after his death. Biography
<mask> was born in Moscow at the 3rd Meshchanskaya St. (61/2) maternity hospital. His father, Semyon Volfovich (<mask>) (1915–1997), was a colonel in the Soviet army, originally from Kiev. <mask>'s mother, Nina Maksimovna, (née Seryogina, 1912–2003) was Russian, and worked as a German language translator.<mask>'s family lived in a Moscow communal flat in harsh conditions, and had serious financial difficulties. When <mask> 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. <mask>'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. <mask> 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 the World War II broke out, Semyon <mask>, a military reserve officer, joined the Soviet army and went to fight the Nazis. Nina and <mask> 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, <mask> joined the 1st class of the 273rd Moscow Rostokino region School.In December 1946, <mask>'s parents divorced. From 1947 to 1949, <mask> lived with Semyon <mask> (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. <mask> came to stay with me in January 1947, and my second wife, Yevgenia, became <mask>'s second mother for many years to come. They had much in common and liked each other, which made me really happy," Semyon <mask> 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 <mask> returned to Moscow.There he joined the 5th class of the Moscow 128th School and settled at , 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 <mask>, now much interested in theater and cinema, joined the Drama courses led by <mask>. "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 <mask> 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. Professional career
In 1955, <mask> 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 <mask> 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 <mask>'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, <mask> 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 <mask>) ended with him being fired, officially "for a total lack of sense of humour." <mask>'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, <mask> 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), <mask> 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. 1964–1970

In 1964, director Yuri Lyubimov invited <mask> 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, <mask> debuted in Bertholt 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 <mask>'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 <mask> 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) <mask> 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 <mask> 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 <mask>'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 <mask> 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 <mask> (as Volodya the radioman), brought him all-round recognition and fame. Four of the numbers used in the film (including "" (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 <mask> 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 <mask> got another pivotal theater role, that of  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 <mask> 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 <mask>'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 <mask> and Mikhail Zoschenko, another Soviet author who'd been officially labeled "scum" some 20 years ago. Two of <mask>'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 <mask>'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 <mask>'s repertoire, documenting the beginning of his passionate love affair with French actress Marina Vlady. In 1969 <mask> starred in two films:

masks:
Vladimir Semyonovich Vysotsky
Vladimir Vysotsky
Vladimirovich
Vladimir
Vysotsky
Vladimir
Vladimir
Vysotsky
Vysotsky
Vladimir
Vladimir
Vysotsky
Vladimir
Vladimirovich
Vladimir
Vladimir
Vysotsky
Vladimir
Vladimir Vysotsky
Vladimir Bogomolov
Vladimir
Vladimir
Vysotsky
Vysotsky
Vysotsky
Vladimir Polyakov
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky


title: Vladimir Vysotsky

texts:
 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, <mask> 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. 1971–1973
In 1971 a drinking spree-related nervous breakdown brought <mask> to the .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), <mask> 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 <mask> in the leading role, that of a lone intellectual rebel, rising to fight the cruel state machine. Also in 1971 <mask> was invited to play the lead in The Sannikov Land, the screen adaptation of <mask>'s science fiction, 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 <mask> 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. 1972 he stepped up in Soviet Estonian TV where he present his songs and giving interview. The name of the show was "Young Man from Taganka" (Noormees Tagankalt). In April 1973 <mask> 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), <mask> 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 <mask> 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. 1974–1977
In 1974 Melodiya released the 7" EP, featuring four of <mask>'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 <mask> 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 <mask>'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 <mask> 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 <mask> in his home studio. After a brief stay in England <mask> 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 <mask> (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 <mask>s'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. <mask> anymore" he gave the role of Hamlet to Valery Zolotukhin, the latter's best friend. That was the time, reportedly, when stressed out <mask> started taking amphetamines. Another Belorussian voyage completed, Marina and <mask> went for France and from there (without any official permission given, or asked for) flew to the North America. In New York <mask> 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 <mask> 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 <mask> as Ivan Bezdomny; a modest role, somewhat recompensed by an important Svidrigailov slot in Yury Karyakin's take on Dostoevsky's Crime and Punishment. <mask>'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. 1977–1980
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 <mask>'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, New York 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 (<mask> back in the lead) gaining fine reviews. 1978 started with the March–April series of concerts in Moscow and Ukraine. In May <mask> 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 <mask> as Zheglov, a ruthless and charismatic cop teaching his milder partner Sharapov (actor <mask>) his art of crime-solving. <mask> 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 <mask> again visited America with highly successful series of concerts. That was the point (according to biographer <mask>) when a glimpse of new, clean life of a respectable international actor and performer all but made <mask> 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, <mask> 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 <mask> 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 <mask> began switching from songs to more conventional poetry. Still, of nearly 800 poems by <mask> 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, <mask> 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 <mask>. A letter to Warren Beatty film by Alexander Kovanovsky and Igor Rakhmanov. While recording this video, <mask> had a rare opportunity to perform for a camera, being still unable to do it with Soviet television. On 22 January 1980, <mask> 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 <mask> appearing on stage sporadically, fueled by heavy dosages of drugs and alcohol. His performances were often erratic. Occasionally <mask> paid visits to  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." Death
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 <mask>'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 <mask>'s death, where he appears visibly unwell, breathing heavily and slurring his speech. Accounts by <mask>'s close friends and colleagues concerning his last hours were

masks:
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vladimir Obruchev
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vladimir Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vladimir
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vladimir Konkin
Vysotsky
Vysotsky
Vladimir Novikov
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vladimir Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky


title: Vladimir Vysotsky

texts:
 compiled in the book by V. Perevozchikov. <mask> 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, <mask> 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, <mask> 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 in order 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, <mask> 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 <mask> gave his last public concert in Kaliningrad. On 18 July, <mask> 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, <mask>'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, <mask> 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 <mask>'s condition all night. In the evening, after drinking relatively small amounts of alcohol, the moaning and groaning <mask> 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 <mask> 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 <mask>. An autopsy was prevented by <mask>'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 <mask>'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 <mask>'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, <mask> 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. Controversy surrounding circumstances of death
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. <mask>'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 <mask> 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 <mask> 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 <mask> 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 <mask>'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 <mask> (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. Marriages
<mask>'s first wife was Iza Zhukova. They met in 1956, being both MAT theater institute students, lived for some time at <mask>'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, <mask> 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 <mask> had two. They were married in 1969. For 10 years the two maintained a long-distance relationship as Marina compromised her career in France in order to spend more time in Moscow, and <mask>'s friends pulled strings in order 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 <mask> 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 <mask>'s songs. Legacy and remembrance

In the autumn of 1981 <mask>'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 <mask>otsky 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 <mask> 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) <mask> 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 <mask>'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 <mask>. 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 Vladimir Vysotsky Museum opened in Moscow, with the magazine of its own called Vagant (edited by Sergey Zaitsev) devoted entirely to <mask>'s legacy. In 1996 it became an independent publication and was closed in 2002. In the years to come, <mask>'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 <mask> 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 <mask> 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. "<mask> 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. A further monument to Vysotsky was erected in 2014 at Rostov-on-Don.The Vysotsky business center & semi-skyscraper was officially opened in Yekaterinburg, in 2011. It is the tallest building in Russia outside of

masks:
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vladimir
Vladimir
Vladimir
Vysotsky
Vysotsky
Vladimir Vys
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vladimir Vysotsky
Vysotsky


title: Vladimir Vysotsky

texts:
 Moscow, has 54 floors, total height: . On the third floor of the business center is the Vladimir Vysotsky Museum. Behind the building is a bronze sculpture of <mask> 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 <mask>. The actor Sergey Bezrukov portrayed Vysotsky, using a combination of a mask and CGI effects.The film tells about <mask>'s illegal underground performances, problems with KGB and drugs, and subsequent clinical death in 1979. Shortly after <mask>'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 <mask>, such as his first song (1977) was based on  "The Wolfhunt", and dedicated to his memory the song "Epitafium dla Włodzimierza Wysockiego" ("Epitaph for <mask>"). Every year on <mask>'s birthday festivals are held throughout Russia and in many communities throughout the world, especially in Europe. <mask>'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 <mask>.During the Annual Q&A Event Direct Line with <mask>, Alexey Venediktov asked Putin to name a street in Moscow after the singer <mask>, who, though considered one of the greatest Russian artists, has no street named after in Moscow him 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 <mask>ky.The Museum of Vladimir Vysotsky in Koszalin dedicated to <mask> 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 <mask>' 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 <mask>'s guitar, on which he played at a concert in Casablanca in April 1976. <mask> presented this guitar to Moroccan journalist Hassan El-Sayed together with an autograph (an extract from <mask>'s song "What Happened in Africa"), written in Russian right on the guitar. Books on <mask>
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 <mask>'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 <mask>-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 <mask>, 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 <mask> Sr.'s alleged KGB reports, the true nature of <mask>'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"

Music
The multifaceted talent of <mask> is often described by the term "bard" (бард) that <mask> 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, <mask>'s music became available to the masses in the form of home-made reel-to-reel audio tape recordings (later on cassette tapes). <mask> 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. <mask>'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 Gulags. <mask> 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 <mask>'s war songs described the truth of war far more accurately than more official "patriotic" songs. Nearly all of <mask>'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 <mask>'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. <mask>'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, <mask> 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. Musical style
Musically, virtually all of <mask>'s songs were written in a minor key, and tended to employ from three to seven chords. <mask> 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 <mask> 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), using the following chord shapes:

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, <mask> began writing and playing exclusively in A minor (guitar tuned to CFACFAC), which he continued doing until his death. The main chord shapes he based his songs on were:

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, <mask> 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 (<mask> would sometimes tune as much as 2 and a half steps down) is prone to intonation problems. Singing style
<mask> 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. Aufbau Verlag 1989 (DDR): Zerreißt mir nicht meine silbernen Saiten....
 <mask>, <mask> (1990): Hamlet With a Guitar. Moscow, Progress Publishers.<mask>, <mask> (2003):  Songs, Poems, Prose. Moscow, Eksmo. ISBN
 <mask>, <mask> / Mer, Nathan (trans) (1991): Songs & Poems. <mask>, <mask> (1991): I Love, Therefore I Live. Vlady, Marina (1987): <mask> ou Le Vol Arrêté. Paris, Ed. Fayard.(<mask> or the Aborted Flight)
 Влади М. Владимир, или Прерванный полет. М.: Прогресс, 1989. Vlady, Marina / Meinert, Joachim (transl) (1991): Eine Liebe zwischen zwei Welten. Mein Leben mit Wladimir Wyssozki. Weimar, Aufbau Verlag. ISBN

Other books
 Novel about Girls (Roman o devochkah)
 Vacation in Vienna (Venskie kanikulyi)

Discography

Lifetime
 Selected songs Melodiya, 1974
 Tightrope (Натянутый канат), PolyGram, 1977
 Алиса в стране чудес / Alice in Wonderland (1976) [2 vinyls]. Musical play, an adaptation of Alice in Wonderland, with Klara Rumyanova, <mask>, Vsevolod Abdulov.Lyrics and music by <mask>

Posthumous releases

Bulgaria
 Автопортрет / Self-Portrait (1981) [12" vinyl] [LP] Balkanton

France
 Le Monument (1995) [CD]
 Le Vol Arrêté (2000) [CD]

Germany
 Wir drehen die Erde (1993) [CD]
 Lieder vom Krieg (1995) [CD]

Russia
 Песни / Songs (1980) [LP] Melodiya
 Collection of songs published shortly after his death. [Melodiya Stereo C60-14761.2]
 Sons Are Leaving For Battle (1987) [double LP] Melodiya
 War songs. Archive recordings from between 1960 and 1980. [Melodiya MONO M60 47429 008/006]
 На концертах Владимира Высоцкого / At <mask>'s concerts
 01, 02, 03, ... 21 (1986–1990) [12" vinyl]

 Marina Vlady and <mask> (1996) [CD] [Melodiya]
 Vysotsky On Compact Cassettes - 30 individual cassettes in total, also sold as a box set (1996) [Aprelevka Sound Production]
 MP3 Kollektsiya: <mask> [SoLyd Records] Concert and Studio recordings, (period 1979–1980) (2002) [CD: MP3 192 kbit/s]
 Disk 1,
 Disk 2,
 Disk 3
 Disk 4
 Platinovaya Kollektsiya: <mask> (2003) [2 CDs]: CD 1, CD 2

See also
Russian traditional music
Museum of <mask> Vysotsky in Koszalin

References

External links

English sources

 <mask> Vysotsky's songs translated into English
 <mask> Vysotsky. Songs in English, covered by a native English-speaker (Youtube)

 Eugenia Weinstein (private site, with English translation of some songs)
 <mask> Vysotsky – Speaking In Tongues, Collected Poems (Songs) by Vladimir Vysotsky. Bilingual Version. Translated from the Russian by Alec Vagapov
 Vysotsky's father: "This Is What Our Son Was Like" – Speaking In Tongues
 My Life on Stage (autobiographical reminiscences) – Speaking In Tongues
 V. Vysotsky.The Monument. English translations
 Another Biography of <mask>
 <mask> in different tongues
 Poems and songs of <mask> in the traditional Russian and English languages

 "Hey, Driver" by <mask>. Bi-lingual edition. English translation by Andrew Glikin-Gusinsky
 Prose poem "Rafts" by <mask>. English translation by Andrew Glikin-Gusinsky

Russian sources
  Mobile application "Vysotsky"
  bards.ru (lyrics to most of his songs)
  vysotsky.km.ru (scores of photographs, a wealth of information)
  vv.uka.ru ("fonoteka": most of his songs in MP3 format)
  zeuhl.academ.org (Another source for MP3 files)
  zipsites.ru (Over 900 MP3 files from 32 disk box set)
  Nikita <mask>, <mask>'s son talks to AIF. <mask> and Pushkin together
  Truth of the moment of death V. K. Perevozchikov. Pravda Smertnogo Chasa:
  smotry-film.ru (Over 90 film files)
   <mask>.1980. Moscow. Sampo, 1998. 272 p.

Russian bards
Soviet male actors
Soviet dissidents
Soviet musicians
Soviet singer-songwriters
1938 births
1980 deaths
Soviet male film actors
Soviet male stage actors
Soviet male singer-songwriters
20th-century Russian male singers
Seven-string guitarists
Recipients of the USSR State Prize
Russian-language poets
Russian male film actors
Russian male singer-songwriters
Male actors from Moscow
Musicians from Moscow
Singers from Moscow
Writers from Moscow
Russian people of Jewish descent
Soviet people of Jewish descent
Jewish Russian actors
Burials at Vagankovo Cemetery
20th-century guitarists
20th-century Russian musicians
20th-century Russian male actors
20th-century Russian writers
20th-century Russian singers
Moscow Art Theatre School

masks:
Vladimir Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vladimir Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vladimir Putin
Vladimir Vysotsky
Vladimir Vysots
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir
Vysotsky
Vladimir Vysotsky
Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vysotsky
Vladimir
Vysotsky
Vladimir
Vysotsky
Vladimir
Vysotsky
Vladimir
Vladimir
Vladimir
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir
Vladimir
Vladimir
Vladimir
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vladimir Vysotsky
Vysotsky
Vladimir
Vysotsky
Vladimir Vysotsky


title: Myra Albert Wiggins

texts:
<mask> (1869–1956) was an American painter and pictorial photographer who became a member of the important early 20th century Photo-Secession movement. Life

Early years (1869–89)
<mask>, née <mask>, was born on December 15, 1869 in Salem, Oregon. She was the second of four children born to <mask> and Mary Elizabeth Holman. Her father worked his way from being a bookkeeper in a local linseed oil company to becoming president of the Capital National Bank in Salem. She showed natural artistic talent at an early age, and she would spend hours drawing and painting both in her home and in the fields around Salem. Her parents encouraged her talent both because she was very good and because a cultural background in the arts was expected for upper class women of the time. When she was 17, she won the first of many awards for painting at the Oregon State Fair, and between 1886 and 1907 she won a total of 94 more state fair awards for her art.About 1888 she met her future husband, Frederick Arthur <mask>, who was the owner of a local store that was one of the first to offer a variety of products under one roof. Among the products he offered were bicycles, which at that time were first becoming a craze among younger people, and <mask> recalled that she first met Fred while riding around town on her bicycle. Their families were very active in outdoor activities, and several times a year they would see each other at outings in the area. <mask> said that her introduction to photography was her brother's doing since he wanted to take a photograph of his sweetheart and, not having a camera, thought their father would be more likely to buy one if both of them said they would use it. In 1889, they acquired a large glass-plate camera and tripod, and soon she was using it far more than her brother. Some of her first pictures were taken on one of her family's many trips to the Oregon Coast. Within two years she won a new camera as first prize in the amateur division of a competition held by West Shore magazine, and many of the photographs she submitted for the contest were exhibited at the Portland North Pacific Industrial Exposition in 1890.Becoming an artist (1890–99)

Like many progressive women of the late 19th century, <mask> was sent to New York City for her higher education. She studied at the Art Students League of New York from 1891 to 1894, where she took classes from William Merritt Chase and John Twachtman. Chase in particular influenced her thinking about art, and when she brought her photographs for him to view he would sometimes write comments on the back of them. She immortalized Chase in a famous 1891 photograph of the artist teaching at the league, surrounded by his female students. While she was studying in New York, she would return to Salem during the summers, and in the summer of 1892, she announced her engagement to <mask>. When she returned to New York that fall, she became one of the first female members of the New York Camera Club. She used the club's darkroom facilities, and it was here that she met Joseph Keiley, an influential photographer, writer, and close friend of Alfred Stieglitz.She and her fiancé were married on November 24, 1894, in Salem, and their daughter Mildred, their only child, was born in 1896. Master of photography (1900–29)
In 1900, <mask> was given first of two one-woman exhibitions of her photography at the Chicago Art Institute. She had already met and corresponded with the most important photographer of the time, Alfred Stieglitz, and in 1903 he admitted her as a member in the newly formed Photo-Secession. In the fall of 1903, one of <mask> photographs was included in the Hamburg Jubilee Exhibition in Hamburg, Germany, and in the London Salon organized by the famous Linked Ring. A review of the latter exhibition in the British magazine Photography contains these words of praise:
 "All things considered, we consider Mrs. <mask>' picture called Polishing Brass one of the finest in the whole room. It certainly is the most pictorial, and is exactly like a print by Chodowiecke , both in subject and feeling. A woman is seated at a table with metal utensils of quaint and interesting form.The whole thing is quiet, healthy, and exceedingly well-designed – an example for hundreds." In 1904, <mask> was one of five Oregon delegates selected to go on a "Cruise of the Christians" to attend the World's Fourth Sunday School Convention in Jerusalem. She photographed scenes both on the boat and when she arrived, often developing the film in her room at night. On the return trip she stopped in Paris and London specifically to see major photographic salons that were on exhibit at the time. Later that year she published Letters from a Pilgrim (Salem: Statesman Publishing), a photographically illustrated description of her journey to the Middle East. That same year, Stieglitz sent 200 photographs representing the best artists of the Photo-Secession to the Hague International Photography Exhibition. Among those artists he included were <mask> and her Oregon colleague Sarah Ladd.<mask> also had photographs published in several important magazines, including Photo-Era, The Photo Miniature, Photograms of the Year and Die Kunst in Der Photographie (a high quality German quarterly similar to Camera Work). <mask>' mother Mary died in 1905 after being in a car wreck. Her father, who was driving, was not injured, but he suffered greatly from guilt and anguish in the following years. In 1906, she was included in the invitational exhibit "The Work of Women Photographers of America" at the Camera Club of Hartford, Connecticut. <mask> was one of 26 women who were presented in the show. Later that year two of her photographs were included in the annual members exhibit at Stieglitz's Little Galleries of the Photo-Secession in New York. By 1907, <mask> wanted to enter the plant nursery business and he moved his family to Toppenish in central Washington.Fred started the Washington Nursery Company, and <mask> tried to help her husband financially by opening an art studio and school. Her new hometown area was much more rural and undeveloped than Salem, and much of the countryside around the town was dry and dusty. The dust caused health problems for <mask>, and it was several years before she could produce a regular income from her painting. <mask> continued to photograph as much as her health allowed, and she exhibited again at the Little Galleries in New York and at the Arts and Crafts Exhibition in San Francisco. Fellow Photo-Secessionist Anne Brigman commented on <mask>' photos in the latter show, saying she "invariably infuses her work with an atmosphere of tender sadness." Over the next decade <mask>' photos were shown in many important exhibitions, including the International Exhibition of Pictorial Photography in New York City (1909), the Annual Pictorial Photography Invitation in Seattle, Washington (1910) and the landmark International Exhibition of Pictorial Photography (1910) at the Albright-Knox Art Gallery in Buffalo, New York. Encouraged by the interest in her work by other photographers in Seattle, <mask> started to spend more time in that city.From the mid-1910s to the late 1920s, she alternated between helping her husband with his business and taking her photographs to Seattle when there was enough money to go. During this time she also developed an interest in lecturing about her work, other photographers and about art in general. In 1928, the Seattle Fine Arts Society gave <mask> her last one-woman photography exhibit. Master of painting (1930–56)
In 1930, <mask> co-founded the Women Painters of Washington, one of the state's oldest existing arts organizations. Through her lecturing and classes, she became a vital force in most of the region's arts activities. In 1932 she moved permanently to Seattle. She continued to paint for many years and was recognized for her artistry through retrospective exhibits at the Seattle Art Museum (1953) and the de Young Museum in San Francisco (1954).She also had one-person shows of her paintings in Vancouver, Chicago, New Orleans, Louisiana and New York. By the time she turned 86 in 1955, she had completed 114 paintings. On January 13, 1956, <mask> died of a stroke. She was actively painting up until the time of her death. Her husband died in an accident four months later. Her work is in the permanent collections several important museums, including the Portland Art Museum, the Getty Museum and the National Museum of American Art at the Smithsonian Institution. Further reading
Glauber, Carole."<mask> <mask>: Arts and Crafts Photographer", Style 1900, May 1999. Glauber, Carole. "A Wandering Lens - <mask> <mask>: Photographer, Artist and Mentor", Artifact Magazine, March/April 1996. References

1869 births
1956 deaths
American women painters
American women photographers
Photographers from Oregon
Artists from Salem, Oregon
19th-century American painters
20th-century American painters
19th-century American photographers
20th-century American photographers
19th-century American women artists
20th-century American women artists
19th-century women photographers
20th-century women photographers

masks:
Myra Albert Wiggins
Wiggins
Myra Jane Albert
John Henry Albert
Wiggins
Myra
Wiggins
Myra
Fred Wiggins
Wiggins
Wiggins
Wiggins
Wiggins
Wiggins
Wiggins
Wiggins
Wiggins
Fred Wiggins
Wiggins
Wiggins
Wiggins
Wiggins
Wiggins
Wiggins
Wiggins
Wiggins
Wiggins
Myra Albert
Wiggins
Myra Albert
Wiggins


title: E. Pauline Johnson

texts:
<mask> (10 March 1861 – 7 March 1913), also known by her Mohawk stage name Tekahionwake (pronounced dageh-eeon-wageh, literally 'double-life'), was a Canadian poet, author, and performer who was popular in the late 19th and early 20th centuries. Her father was a hereditary Mohawk chief of mixed ancestry and her mother was an English immigrant. <mask>—whose poetry was published in Canada, the United States, and Great Britain—was among a generation of widely-read writers who began to define Canadian literature. She was a key figure in the construction of the field as an institution and has made an indelible mark on Indigenous women's writing and performance as a whole. <mask> was notable for her poems, short stories, and performances that celebrated her mixed-race heritage, drawing from both Indigenous and English influences. She is most known for her books of poetry The White Wampum (1895), Canadian Born (1903), and Flint and Feather (1912); and her collections of stories Legends of Vancouver (1911), The Shagganappi (1913), and The Moccasin Maker (1913). While her literary reputation declined after her death, since the late 20th century there has been a renewed interest in her life and works.In 2002, a complete collection of her known poetry was published, entitled E<mask> <mask>, Tekahionwake: Collected Poems and Selected Prose. Family history

The Mohawk ancestors of <mask>'s father, Chief George Henry <mask>, had historically lived in what became the state of New York, United States. Theirs was the easternmost territory in the homelands of the Five Nations of the Iroquois League (later the Six Nations), also known as the Haudenosaunee. In 1758, her great-grandfather Tekahionwake was born in the province of New York. When he was baptized, he took the name <mask>. He was named after  Sir <mask>, the influential British Superintendent of Indian Affairs, who acted as his godfather. The <mask> surname was subsequently passed down in the family.After the American Revolutionary War started, Loyalists in the Mohawk Valley came under intense pressure. The Mohawk and three other Iroquois tribes had allied with the British rather than the rebel colonists. <mask> and his family moved to Canada. After the war they settled permanently in Ontario on land given by the Crown in partial compensation for Haudenosaunee losses of territory in New York. His son John Smoke <mask> spoke English and Mohawk fluently and had a talent for oration. Due to his demonstrated patriotism to the Crown during the War of 1812, <mask> was made a Pine Tree Chief at the request of the British government. Although his title could not be inherited, his wife Helen Martin was a descendant of the Wolf Clan and a founding family of the Six Nations reserve.Through her lineage and influence (as the Mohawk had a matrilineal kinship system), their son <mask> was named chief. <mask> inherited his father's gift for languages and began his career as an Anglican Church missionary translator on the Six Nations reserve. Whilst working with the Anglican missionary assigned there, <mask> met the man's sister-in-law, <mask>. <mask> was born in Bristol, England, to a well-established British family who had immigrated to the United States in 1832. Her father Henry Howells was a Quaker and intended to join the American abolitionist movement. <mask>'s mother Mary Best Howells died when the girl was five, when they were still in England. Her widowed father married again before they left for the US.In the US, he moved his family to several American cities, where he founded schools to gain an income, before settling in Eaglewood, New Jersey. After his second wife died (women had a high mortality in childbirth), Howells married a third time; he fathered a total of 24 children. He opposed slavery and encouraged his children to "pray for the blacks and to pity the poor Indians". His compassion did not preclude his believing that his own race was superior to others. At the age of 21, <mask> moved to the Six Nations reserve in Ontario, Canada, to join her older sister, who had moved there with her Anglican missionary husband. <mask> helped her sister care for her growing family. After falling in love with <mask>, Howells gained a better understanding of the Native peoples and some perspective on her father's beliefs.Much to the chagrin and displeasure of both their families, <mask> and Howells married in 1853. The birth of their first child reconciled the rift between their respective families. Several prominent Canadian families were descended from 18th- and 19th-century marriages between British fur traders, who had capital and social standing, and elite daughters of First Nations chiefs, in what were considered valuable economic and social alliances by both sides. Shortly after their marriage George became a chief of the Six Nations and was appointed as Crown interpreter for the Six Nations. In 1856 <mask> built Chiefswood, a wood mansion at his 225-acre estate. He and his family lived here for years at the Six Nations reserve outside Brantford, Ontario. In his roles as government interpreter and hereditary chief, <mask> developed a reputation as a talented mediator between Native and European interests.He was well respected in Ontario. He also made enemies because of his efforts to stop illegal trading of reserve timber. Physically attacked by Native and non-Native men involved in this and liquor traffic, <mask> suffered from severe health problems; he died of a fever in 1884. Personal life

Early life

E<mask> <mask> was born at her family home Chiefswood at the Six Nations reserve outside Brantford, Ontario. She was the youngest of four children of <mask> Howells <mask> (1824–1898), an English immigrant, and George Henry <mask> (1816–1884), a Mohawk hereditary clan chief. Because <mask> worked as an interpreter and cultural negotiator among the Mohawk, British, and representatives of the government of Canada, the <mask>s were seen as part of Canadian high society. They were visited by distinguished intellectual and political guests of the time, including The Marquess of Lorne, Princess Louise, Prince Arthur, inventor Alexander Graham Bell, painter Homer Watson, anthropologist Horatio Hale, and the third Governor General of Canada, Lord Dufferin.<mask>'s mother emphasized refinement and decorum in raising her children, cultivating an "aloof dignity" that she felt would earn them respect in their adulthood. <mask>'s elegant manners and aristocratic air owed much to this background and training. <mask> encouraged their four children to respect and learn about both their Mohawk and English heritage. Because <mask> had partial Mohawk ancestry, his children were, by British law, legally considered Mohawk and wards of the British Crown. But, according to the Mohawk matrilineal kinship system, children are considered born into the mother's family, and take their status from her. Thus the <mask> children were considered to belong to no Mohawk family or clan, and were excluded from important aspects of the tribe's matrilineal culture. Early education

A sickly child, <mask> did not attend Brantford's Mohawk Institute, a residential school established in 1834.Her education was mostly at home and informal, derived from her mother, a series of non-Native governesses, a few years at the small school on the reserve, and self-guided reading in her family's expansive library. She read deeply in the works of Byron, Tennyson, Keats, Browning and Milton, and enjoyed reading tales about Indigenous people such as Longfellow's epic poem The Song of Hiawatha and John Richardson's Wacousta. These informed her own literary and theatrical work. Despite growing up in a time when racism against Indigenous people was normalized and common, <mask> and her siblings were encouraged to appreciate their Mohawk ancestry and culture. Her paternal grandfather John Smoke <mask> was a respected authority figure for her and her siblings. He educated them by traditional Indigenous oral storytelling before his death in 1886. <mask> taught his life lessons and stories in Mohawk; the children understood it but were not fluent in speaking it.<mask>'s dramatic talents as a storyteller were absorbed by <mask>, who became known for her talent for elocution and her stage performances. She wore artifacts passed onto her by her Mohawk grandparents, such as a bear claw necklace, wampum belts, and various masks. Later in her life, <mask> expressed regret for not learning more of her grandfather's Mohawk heritage and language. At the age of 14, <mask> went to Brantford Central Collegiate with her brother Allen. She graduated in 1877. A fellow schoolmate was Sara Jeannette Duncan, who eventually developed her own journalistic and literary career. Romantic life

<mask> attracted many potential suitors, and her sister recalled more than half a dozen marriage proposals from Euro-Canadians in her lifetime.Though the number of official romantic interests remains unknown, two later romances were identified as Charles R. L. Drayton in 1890 and Charles Wuerz in 1900. But, <mask> never married nor remained in relationships for very long. She was said to have flirted with boys in Grand River. Later she wrote what was described as "intensely erotic poetry." Due to her career, she was unwilling to set aside her racial heritage and adapt to placate partners or in-laws. Despite everything, <mask> consistently had a strong network of supportive female friends and attested to the importance they had in her life. <mask> said:

Stage career

During the 1880s, <mask> wrote and performed in amateur theatre productions.She enjoyed the Canadian outdoors, where she travelled by canoe. Shortly after her father's death in 1884, the family rented out Chiefswood. <mask> moved with her widowed mother and sister to a modest home in Brantford. She worked to support them all, and found that her stage performances enabled her to make a living. <mask> supported her mother until her death in 1898. The Young Men's Liberal Association invited <mask> to a Canadian authors evening in 1892 at the Toronto Art School Gallery. The only woman at the event, she read to an overflow crowd, along with poets including William Douw Lighthall, William Wilfred Campbell, and Duncan Campbell Scott."The poise and grace of this beautiful young woman standing before them captivated the audience even before she began to recite—not read, as the others had done"—her "Cry from an Indian Wife". She was the only author to be called back for an encore. "She had scored a personal triumph and saved the evening from turning into a disaster." The success of this performance began the poet's 15-year stage career. <mask> was signed up by Frank Yeigh, who had organized the Liberal event. He gave her the headline for her first show on 19 February 1892, where she made her debut with a new poem written for the event, "The Song My Paddle Sings". At 31 years old, <mask> was perceived as a young and exotic Native beauty.After her first recital season, she decided to emphasize the Native aspects of her public persona in her theatrical performances. <mask> created a two-part act that would confound the dichotomy of her European and Indigenous background. In act one, <mask> would come out as Tekahionwake, the Mohawk name of her great-grandfather, wearing a costume that served as a pastiche and assemblage of generic "Indian" objects that did not belong to one individual nation. But, her costume from 1892 to 1895 included items she had received from Mohawk and other sources, such as scalps inherited from her grandfather that hung from her wampum belt, spiritual masks, and other paraphernalia. During this act she would recite dramatic "Indian" lyrics. At intermission, she changed into fashionable English dress. In act two she came out as a pro North West Mountain Police (now known as the RCMP) Victorian English woman to recite her "English" verse.Many of the items on her native dress were sold to museums such as the Ontario Provincial Museum, or to collectors such as the prominent American George Gustav Heye. Upon her death she willed her "Indian" costume to the Museum of Vancouver. There are many interpretations of <mask>'s performances. The artist is quoted saying "I may act till the world grows wild and tense". Her shows were tremendously popular. She toured all across North America with her friend and fellow performer, and later business manager, Walter MacRaye. Her popularity was part of the immense interest by European Americans and Europeans in Indigenous peoples throughout the 19th century; the 1890s were also the period of popularity of Buffalo Bill's Wild West show and ethnological aboriginal exhibits.Literary career

In 1883 <mask> published her first full-length poem, "My Little Jean", in the New York Gems of Poetry. She began to increase the pace of her writing and publishing afterwards. In 1885, poet Charles G. D. Roberts published <mask>'s "A Cry from an Indian Wife" in The Week, Goldwin Smith's Toronto magazine. She based it on events of the battle of Cut Knife Creek during the Riel Rebellion. Roberts and <mask> became lifelong friends. <mask> promoted her identity as a Mohawk, but as an adult spent little time with people of that culture. In 1885, <mask> travelled to Buffalo, New York, to attend a ceremony honouring the Haudenosaunee leader Sagoyewatha, also known as Red Jacket.She wrote a poem expressing admiration for him and a plea for reconciliation between British and Native peoples. In 1886, <mask> was commissioned to write a poem to mark the unveiling in Brantford of a statue honouring Joseph Brant, the important Mohawk leader who was allied with the British during and after the American Revolutionary War. Her "Ode to Brant" was read at a 13 October ceremony before "the largest crowd the little city had ever seen". It called for brotherhood between Native and white Canadians under British imperial authority. The poem sparked a long article in the Toronto Globe, and increased interest in <mask>'s poetry and heritage. The Brantford businessman William Foster Cockshutt read the poem at the ceremony, as <mask> was reportedly too shy. During the 1880s, <mask> built her reputation as a Canadian writer, regularly publishing in periodicals such as Globe, The Week, and Saturday Night.In the late 1880s and early 1890s, she published nearly every month, mostly in Saturday Night. <mask> is considered among a group of Canadian authors who were contributing to a distinct national literature. The inclusion of two of her poems in W. D. Lighthall's anthology, Songs of the Great Dominion (1889), signalled her

masks:
Emily Pauline Johnson
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. Pauline
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Martin Johnson
Jacob Johnson
William Johnson
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Jacob Johnson
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Smoke Johnson
George Johnson
George Johnson
Johnson
Emily Howells
Emily Howells
Emily
Emily Howells
Emily
George Johnson
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George Johnson
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. Pauline
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Emily Susanna
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Martin Johnson
George Johnson
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Pauline Johnson
George Johnson
George Johnson
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Smoke Johnson
Pauline
Pauline Johnson
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Pauline Johnson
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