Please join us for a conversation about improvements to the Olive View-UCLA Medical Center Campus Master Plan and Environmental Impact Report (EIR). The improvements to the campus will come in the form of a Restorative Care Village which will provide comprehensive health care services to our community. These services will build upon the longstanding commitment of Olive View-UCLA Medical Center to patient centered care. At this community meeting, Olive View and LA County department staff will share information about the proposal and answer your questions. We look forward to hearing from our friends and neighbors as we embark on this journey with all of you.
Por favor, unase a nosotros para una conversacion sobre las proximas mejoras al Plan Maestro del Campus de Olive View-UCLA Medical Center y al Informe de Impacto Ambiental (EIR). Las mejoras en el campus vendran en forma de un Centro de Cuidado Restaurativo que brindara servicios de atencion medica integral a nuestra comunidad. Estos servicios se basaran en el compromiso a largo plazo de Olive View-UCLA Medical Center con la atencion centrada en el paciente. En esta reunion comunitaria, el personal del departamento de Olive View y del condado de Los Angeles compartira informacion sobre la propuesta y respondera sus preguntas. Esperamos poder escuchar a nuestros amigos y vecinos.
What's the history of the Olive View-UCLA Medical Center?
In 1920, Olive View was founded as a tuberculosis sanatorium in the San Fernando Valley to relieve overcrowding at the Los Angeles County Hospital, giving it the name Olive View from the groves of olive trees on the property. After drugs were discovered and began to be used in the 1950s to cure tuberculosis, Olive View became a general hospital.
Today, the hospital provides inpatient, ambulatory, emergency and urgent care services for individuals with both physical and mental health needs. Over 300,000 patients are served annually in our hospital and outpatient clinics.
As a 355-bed teaching hospital affiliated with the UCLA David Geffen School of Medicine, Olive View- UCLA is a nationally recognized, sponsoring institution for Graduate Medical Education (GME) programs in internal medicine, nephrology, hematology/oncology, psychiatry and rheumatology. We also offer training programs in 17 additional medical specialties.
What is the Olive View Master Plan and Environmental Impact Report (EIR)?
The Olive View Master Plan is a road map for the future of the campus, and has been shared previously with the community. The EIR for the Master Plan, which will be released in late spring, identifies and examines the likely environmental effects of a proposed project, and proposes measures to avoid, mitigate, or offset them.
What are the immediate plans for the Olive View Campus?
The first phase of the Olive View-UCLA Medical Center Master Plan will be the Restorative Care Village.
What is the Olive View Restorative Care Village (Village) and what services will be provided there?
The Village will be comprised of a Mental Health Wellness Center, Mental Health Urgent Care, a Recuperative Care Center and a Residential Treatment Program that will provide physical health, mental health, social and other supportive services incorporating care coordination and discharge planning activities from dedicated staff to ensure a seamless transition upon discharge to home or other housing options.
The Mental Health Wellness Center will provide patients with an array of outpatient mental health and supportive services.
The Mental Health Urgent Care Center, which currently exists on the Olive View Campus, will be relocated closer to the hospital to enhance access to 24/7 mental health services. The continued focus is to stabilize patients and provide them with a discharge plan which will include housing and ongoing care coordination/case management.
The Recuperative Care Center will provide short-term care for individuals recovering from an acute illness or injury who no longer require inpatient hospital care. Recuperative Care offers an environment for individuals to further recuperate and heal which helps free up hospital inpatient acute care resources. Services include medical monitoring, meals, case management, access to supportive housing for those that need it, and transportation.
The Residential Treatment Program will provide ongoing inpatient mental health care to patients in need, until they are able to recover and become self-sufficient. Care coordination and discharge planning from dedicated support staff will help ensure seamless transition of care to their home or other housing options.
Why is the County building this facility with these types of services at Olive View?
The Restorative Care Village concept was created to address the countywide need for a comprehensive, whole-person approach to patient care. Investment in these critical components of patient care and services will allow for improved health outcomes and successful community reintegration. Similar Restorative Care Villages are also being developed on the LAC+USC, Rancho Los Amigos and Martin Luther King Jr. Medical Center campuses.
What are the benefits to Sylmar, its residents, and the surrounding communities?
The Village will not only provide quality care to residents who need medical and mental health services, it will also include significant investments in the surrounding equestrian trails and walking paths which will serve the surrounding community.
Who are the people who will be utilizing these facilities and services?
The Village will serve community residents and patients that are in need of medical care. The enriched services that will be provided at the Village will ensure a smooth patient transition back to the patient's home or into housing, and other supportive services.
How many patients will be served at the Village?
The Village will accommodate 80 patients in the Residential Treatment Program and 48 patients in the Recuperative Care Center. The average length of stay for patients in the Residential Treatment Program is two to three weeks and the average length of stay for patients in the Recuperative Care Center can range from six to nine months.
What happens when patients are discharged from care?
Patients will be provided comprehensive care coordination and discharge planning by dedicated onsite personnel upon entry into the Village. Discharge planners work with patients and their families to ensure seamless transition back to their homes, interim housing, and other housing options.
What will construction mean in terms of traffic and dust?
The Project Contractor will be required to have a plan to mitigate dust or construction debris that will be subject to review and approval by the County.
Construction for the entire Restorative Care Village project is expected to last approximately 18 months. Construction will not be continuous during the entire duration of the project and will be performed from Monday through Friday (7:00 am to 4:00 pm) to ensure there is no additional disruption to the community.
How close will the building be to residential neighborhoods?
The buildings being constructed as part of Restorative Care Village are all within the Olive View campus and not near residential areas. Existing open space will continue to provide a buffer between the campus and surrounding community.
What are the anticipated traffic impacts?
We are currently in the process of preparing a traffic study. We do not anticipate any drastic traffic changes as a result of these projects.
Do you expect an increase in trucks using local streets?
During certain stages of the project, such as when rough grading and concrete pours are being done, there will be trucks entering and exiting via Olive View Drive. This will be performed during working hours to ensure there is minimal disruption to the community.
Will there be additional security be on-site?
Yes, additional security will be provided to ensure the safety of patients, staff, and the community.
If I have a concern during construction, who do I contact?
Please contact the Olive View Medical Center Executive Team at ovmcmasterplan@dhs.lacounty.gov or 747-210-3001.
Cual es la historia del centro medico Olive View?
En 1920, Olive View se fundo como un sanatorio para la tuberculosis en el Valle de San Fernando para mitigar el hacinamiento en el Hospital del Condado de Los Angeles. En la decada de 1950, despues de que se descubrieran los narcotico y se empezaron a utilizar para curar la tuberculosis, Olive View se convirtio en un hospital general. El centro medico Olive View recibio su nombre de los olivares que se encontraban en la propiedad.
Actualmente, el hospital brinda servicios de hospitalizacion, ambulatorios, de emergencia y de atencion de urgencia para personas con necesidades de salud fisica y mental. Mas de 300,000 pacientes son atendidos anualmente en nuestro hospital y en clinicas ambulatorias.
Como un hospital instructivo de 355 camas afiliado con la Escuela de Medicina David Geffen de UCLA, Olive View-UCLA es una institucion reconocida a nivel nacional que patrocina programas de Educacion Medica para Graduados (GME) en medicina interna, nefrologia, hematologia/oncologia, psiquiatria y reumatologia. Tambien ofrecemos programas de capacitacion en 17 especialidades medicas.
Que es el Plan Maestro de Olive View y el Informe de Impacto Ambiental (EIR)?
El Plan Maestro de Olive View es una estrategia para el futuro del campus y se ha compartido anteriormente con la comunidad. El Informe de Impacto Ambiental (EIR) se publicara a fines de la primavera. La publicacion identifica y examina los posibles efectos ambientales del proyecto propuesto, y propone medidas para evitarlos, mitigarlos y/o compensarlos.
Cuales son los planes inmediatos para Olive View?
La primera fase del Plan Maestro del Centro Medico Olive View-UCLA sera la Villa de Cuidado Restaurativo.
Que es la Villa de Cuidados de Recuperacion Olive View y que servicios se proporcionaran?
La Villa estara compuesta de un Centro de Bienestar de Salud Mental, un centro de atención de Urgencia de Salud Mental, un Centro de cuidados de Recuperacion y un Programa de Tratamiento Residencial que brindara servicios de salud fisica, mental, social y otros servicios de apoyo que Incorporan actividades de atencion y planificacion de alta personal con el objeto de garantizar una transicion a hogares o a otras opciones de alojamiento.
El Centro de Bienestar de Salud Mental proporcionara a los pacientes una variedad de servicios de salud mental y servicios de apoyo.
El Centro de Atencion de Urgencias de Salud Mental, que actualmente existe en el Centro Medico de Olive View, se reubicara mas cerca del hospital para mejorar el acceso a los servicios de salud mental las 24 horas7 dias. El enfoque continuo es estabilizar a los pacientes y proporcionarles un plan de alta que incluya alojamiento y coordinacion continua de atencion o seguimiento de caso.
El Centro de Cuidados de Recuperacion brindara cuidado de corto plazo a las personas que se esten recuperando de enfermedades agudas o lesiones que ya no requieren atencion hospitalaria. Los Cuidados de Recuperacion brindan un ambito adecuado para que las personas sigan recuperandose lo cual ayuda a liberar los recursos de cuidados intensivos para pacientes hospitalizados.
Los servicios incluyen monitorizacion medica, comidas, seguimiento de caso, acceso a alojamiento de apoyo para quienes lo necesiten y transporte.
El Programa de Tratamiento Residencial proporcionara atencion de salud mental para pacientes hospitalizados de manera continua, asi lo requieran para que puedan recuperarse y ser autosuficientes.
Por que el Condado esta construyendo el establecimiento con estos tipos de servicios en Olive View?
El concepto de Villa de Cuidados de Recuperacion se creo para abordar la necesidad en todo el condado de un enfoque integral y completo para la atencion del paciente. La inversion en estos componentes criticos de la atencion y los servicios al paciente permitiran mejorar los resultados de salud y la reintegracion exitosa de la comunidad. Tambien se estan desarrollando Villas de Cuidados de Recuperacion similares en los campus de los centros medicos de LAC+USC, Rancho Los Amigos y Martin Luther King Jr.
Cuales son los beneficios para Sylmar, sus residentes y las comunidades de los alrededores?
La Villa no solo brindara atencion de calidad para los residentes que necesitan servicios medicos y mentales, sino que tambien incluye importantes inversiones en senderos ecuestres y de peatones que seran de utilidad para las comunidades.
Quienes son las personas que estaran utilizando el establecimiento y los servicios?
La Villa atendera a los residentes de la comunidad y a los pacientes que necesitan atencion medica. Los servicios complementarios que se proporcionaran en la villa garantizaran una transicion sin problemas a los pacientes al hogar o un alojamiento, y a otros servicios de apoyo.
Cuantos pacientes seran atendidosen la Villa?
El Village tendra capacidad para 80 pacientes en el Programa de Tratamiento Residencial y 48 pacientes en el Centro de Atencion Recuperativa. La duracion promedio de los pacientes del Programa de Tratamiento Residencial serian de dos a tres semanas y la duracion promedio de pacientes en el Centro de Cuidados de Recuperacion puede variar entre seis a nueve meses.
Que sucede cuando los pacientes son dados de alta?
Se proporcionara a los pacientes una coordinacion integral y planificacion de alta. Los planificadores de alta trabajan con los pacientes y familiares para garantizar una transicion sin problemas de regreso a sus hogares, viviendas provisionales y/o otras opciones de vivienda.
Que significara la construccion en terminos de trafico y polvo?
Se requerira que el Contratista del Proyecto tenga un plan para mitigar el polvo o los escombros de la construccion. El plan sera sometido a revision y aprobacion del condado.
Cuanto tiempo se espera que dure la construccion? ¿Las actividades de construccion aumentaran el ruidos en la comunidad?
Se espera que la construccion de la Villa de Cuidados de Recuperacion dure, aproximadamente, 18 meses. La construccion no sera continua durante todo el proyecto y se llevara a cabo de lunes a viernes (de 7:00 a.m. a 4:00 p.m.) Para garantizar que no haya interrupciones adicionales en la comunidad.
Que tan cerca estara el edificio de los vecindarios residenciales?
Los edificios que se construyen como parte de la Villa de Cuidados de Recuperacion se encuentran todos dentro del Campus Olive View y no cerca de areas residenciales. El espacio abierto continuara siendo un pulmon verde entre el campus y las comunidades vecinas.
Cuales son los impactos de trafico previstos?
Actualmente, estamos preparando un estudio de transito. No anticipamos cambios drasticos de trafico como resultado de estos proyectos.
Se espera un aumento de la cantidad de camiones que circulen por las calles locales?
Durante ciertas etapas del proyecto, como por ejemplo, cuando se hace la nivelacion inicial o se coloca el concreto, habra camiones entrando y saliendo por Olive View Drive. Esto se llevará a cabo durante las horas de trabajo para garantizar que haya una interrupcion minima en la comunidad.
Habra algun tipo de seguridad adicional en el lugar?
Si, se brindara seguridad adicional para garantizar la seguridad de los pacientes, del personal y de la comunidad.
Si tengo alguna preocupacion durante la construccion, ¿con quien me comunico?
Comuniquese con el equipo ejecutivo del Centro Medico Olive View atraves de correo electronicoovmcmasterplan@ dhs.lacounty.gov o llame al 747-210-3001.


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Józef Nizioł (ur. 2 marca 1938 w Krzemienicy, zm. 26 stycznia 2021 w Krakowie) – polski matematyk i mechanik, specjalista w dziedzinie mechaniki nieliniowej. Rektor Politechniki Krakowskiej w latach 1990–1996.

Życiorys
Studia wyższe ukończył na kierunku matematyka na Wydziale Matematyczno-Fizyczno-Chemicznym Uniwersytetu Jagiellońskiego w 1961. Następnie podjął pracę na Politechnice Krakowskiej, gdzie w 1966 roku uzyskał stopień doktora nauk technicznych. Stopień doktora habilitowanego uzyskał w 1975, tytuł profesora nauk technicznych w 1981, a tytuł profesora zwyczajnego w 1987.

W latach 1996–2008 był dyrektorem Instytutu Mechaniki Stosowanej Politechniki Krakowskiej. W latach 1990–1996 był rektorem tej uczelni. Jest doktorem honoris causa Państwowego Chemiczno-Technologicznego Uniwersytetu w Iwanowie, a także członkiem Polskiej Akademii Umiejętności oraz Zagranicznej Akademii Nauk Inżynieryjnych Federacji Rosyjskiej. Był członkiem Rady Głównej Szkolnictwa Wyższego VI Kadencji.

13 września 2006 Akademia Górniczo-Hutnicza przyznała mu tytuł doktora honoris causa natomiast Politechnika Krakowska przyznała mu doktorat honoris causa 19 czerwca 2008. W 2008 roku decyzją Rady Miejskiej nadano mu tytuł honorowego obywatela miasta Nowego Wiśnicza za zasługi w kultywowaniu historii i tradycji miasta. W 2009 został profesorem honorowym Politechniki Warszawskiej.

Odznaczony Krzyżem Kawalerskim (1982), Krzyżem Oficerskim (1996) i Komandorskim Orderu Odrodzenia Polski (2005), Medalem Komisji Edukacji Narodowej w 1983.

Zmarł 26 stycznia 2021 w Krakowie. Pochowany został 1 lutego 2021  na cmentarzu Rakowickim w Krakowie.

Wybrane publikacje
 Dynamika żyroskopów ze szczególnym uwzględnieniem żyroskopu całkującego w nieliniowym ujęciu deterministycznym i probabilistycznym (1975)
 Metodyka rozwiązywania zadań z mechaniki (1978)
 Podstawy drgań w maszynach (1989, )

Przypisy

Członkowie Polskiej Akademii Umiejętności
Doktorzy honoris causa Akademii Górniczo-Hutniczej
Honorowi obywatele Nowego Wiśnicza
Odznaczeni Krzyżem Oficerskim Orderu Odrodzenia Polski (III Rzeczpospolita)
Odznaczeni Krzyżem Komandorskim Orderu Odrodzenia Polski (III Rzeczpospolita)
Polscy matematycy XX wieku
Polscy matematycy XXI wieku
Rektorzy Politechniki Krakowskiej
Urodzeni w 1938
Zmarli w 2021
Pochowani na Cmentarzu Rakowickim w Krakowie

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The 58th Annual Adult Education Research Conference will be hosted by The University of Oklahoma University Outreach, Thurman J. White Forum and Conference Services, June 9-11, 2017.
OU Outreach includes the College of Continuing Education and the College of Liberal Studies. Internationally recognized for its pioneering efforts in continuing education, OU Outreach extends the resources of the University of Oklahoma on campus, online, and at locations around the world. OU Outreach has been an integral part of the university since its beginnings. With a $100 million annual budget, OU Outreach extends the educational resources of the university through more than 30 different program formats, including grant and contract activities. Annually, OU Outreach offers some 4,000 courses and activities to more than 200,000 nontraditional learners at more than 80 sites worldwide.
The Thurman J. White Forum Building is located on the University of Oklahoma's Norman campus. The campus is located 25 miles from the Will Rogers World Airport (OKC) in Oklahoma City, OK. Participants can reach the host institution by rental car, taxi, Uber, or Airport Express Shuttle from the airport. For those participants driving personal vehicles, the Thurman J. White Forum Building is located a short four miles off of I-35.
Conference registration includes the AERC Kickoff Dinner on Thursday, June 8, 2017 from 6-8pm at the Sam Noble Museum with complimentary museum access. Please join us as we start the conference off at this magnificent venue.


QuickBooks data entry apps — How can they help your business?
Before we built arbitrue, we interviewed hundreds of accountants and bookkeepers to identify the biggest headaches slowing down their work. We learned that solid data entry apps are the most likely to alleviate their pain points. Here's how these apps work.
Data entry apps for QuickBooks — what are they and how do they work?
Data entry apps use OCR to read invoices and receipts and then send data to synced accounting systems. In this case, to QuickBooks Online.
To understand how these tools work, read this article that explains what OCR is, how does it work, and what increases its accuracy.
The workflow for data entry apps (see below) is pretty simple: instead of manually re-writing data or copying and pasting from PDFs and emails, data entry apps do all the heavy lifting automatically. Of course, some manual verification and double-checking are necessary, but in the most optimistic scenario, a quick glance is sufficient to make sure everything is spot-on.
Typically these apps can work with or without integrating with accounting systems. Without integration, you can use these programs as a library of expense-related documents which you can export as .csv files for easy uploading to your accounting records. Or, you can use them for storage and easy access when you need these files.
The full potential comes with integration. Data extraction apps seamlessly connect with accounting systems, such as QuickBooks, and send expense files directly to a synced account.
If you're among the 72% of UK self-employed who handle taxes on their own, the accountant's workflow also applies to you.
How fast can you extract data from documents?
Depending on how the invoice and receipt processing is done, data extraction can take between a few seconds or, hours, and even days.
Many data entry apps rely primarily on manual extraction and verification which results in up to several hours of wait time for the documents to be read. Others rely on self-learning algorithms that can automatically extract as much as possible based on the quality of the input file.
For example, in the case of arbitrue, there is no manual verification involved meaning that the service is super fast. It only takes up to 10-20 seconds per file to be read and extracted. Of course, the quicker the reading, the more straightforward and seamless the process is for both accountants and business owners.
If you've never used any of these services, perhaps now is a good time to try. You can use arbitrue at no cost and process as many documents as you need. Visit apps.intuit.com/arbitrue >> to integrate now.


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Sugar tax comes into effect in the UK
By Rachel Arthur contact
06-Apr-2018 - Last updated on 06-Apr-2018 at 10:00 GMT
The UK joins countries such as South Africa, France & Mexico in introducing a sugar tax. Pic:Getty/WeXx
The UK introduces its sugar tax on beverages today. Here's what you need to know.
Why introduce a sugar tax?
The UK has the highest level of obesity in Western Europe, with childhood obesity a particular concern. Obesity means a higher risk of chronic illnesses, particularly hypertension, cholesterol, diabetes and cardiovascular diseases.
Sugar taxes target soft drinks because a number of drinks contain a large amount of sugar; while are considered to contain 'empty calories' – providing little nutritional value.
While sugar taxes are controversial, one point all parties can agree on is the need to tackle the obesity epidemic.
How much is the tax and what does it cover?
It's important to note that – as with most other 'sugar taxes' - the levy only covers soft drinks.
The Soft Drinks Industry Levy applies to non-alcoholic beverages (i.e. under 1.2% ABV) with added sugar (a drink is considered to contain 'added sugar' if sugar has been added at any stage during production: this includes pure cane sugars such as sucrose and glucose as well as substances that contain sugar such as honey). The levy rate for added sugar drinks with a total sugar content of 5g or more per 100ml is 18 pence per liter; and those with 8g or more per 100ml is 24 pence per liter.
The levy applies to packaged beverages.
Excluded from the UK levy are milk based drinks (with at least 75% milk); 100% fruit juice; alcohol replacement drinks (ie de-alcoholised beer and wine), drinks with less than 5g sugar per 100ml, and those from small producers.
The regulations
Soft Drinks Industry Levy - full details here and a summary here.
What's the big deal? The UK isn't the first place to introduce a sugar tax
Several cities and regions in the US already have a sugar tax, as do countries such as Mexico, France and Portugal. However, pressure has been mounting to introduce more sugar taxes; and the UK is one of the larger markets to do so.
Therefore, there will be a lot of eyes from around the world scrutinising the effect of the tax- both in the UK and elsewhere - and considering how it may be replicated in other markets.
How has the industry reacted?
Unsurprisingly, the beverage industry has been broadly against the introduction of sugar taxes. It says that the industry has been singled out despite its efforts over recent years to reduce calories.
However, the conversation has now turned to reformulation, with manufacturers' efforts focused on reducing sugar and new product launches to minimize the impact of the sugar taxes on their portfolios.
Britvic says the industry has been 'ahead of the game' in preparing and reformulating, while A.G. Barr says it has developed an 'unprecedented' number of new recipes over the last year.
The result? Britvic now says that 72% of total portfolio and 94% of owned brands will escape the UK's sugar tax. For A.G. Barr, 'up to 99%' of its portfolio will escape the levy; while 60% of Coca-Cola's portfolio will escape the tax.
Companies have had to decide whether to reformulate their popular flagship beverages: while reformulation reduces exposure to the tax, it takes time, effort, expense and also risks damaging brand equity (more than one brand has faced a backlash from loyal consumers when the taste of a brand they know and love changes).
Sprite, Lucozade Energy, Capri-Sun and Irn-Bru have all reformulated flagship products in advance of the tax.
The other option for manufacturers is to create and promote lower calorie alternatives or entirely new products.
How much money will be raised from the tax – and where will it go?
Thanks to the industry's 'aggressive reformulation', the levy in the UK is expected to raise less than half of that originally predicted by the UK government.
The government has welcomed this: saying the aim of the levy is to encourage companies to reformulate - 'even before coming into effect, the levy is already working', it says.
The expected amount of revenue is now £240m ($336m) in year 1. Money will go towards sports in schools and tackling childhood obesity.
Is anywhere else introducing a sugar tax?
Ireland was due to introduce a sugar tax in parallel to the UK levy. However, last week the Department of Finance announced that the introduction of the tax has been put back to May 1 to allow the government to ensure the levy does not infringe EU State aid law.
Ireland's Sugar Sweetened Drinks Tax will use the same two-tier divisions as the UK's Soft Drinks Industry Levy.
Meanwhile the Isle of Man - a self-governing Crown Dependency of the UK - has put its introduction of the Soft Drinks Industry Levy back by a year to April 1, 2019.
Further afield, South Africa's sugar tax also came into effect this week. You can also read more about how the sugar tax debate is shaping up in other parts of the world here.
Will the tax work?
That's the million dollar question.
It also depends what you mean by 'work'. Will it reduce sugar consumption, will it reduce obesity, will the price increase be absorbed by manufacturers or passed onto consumers, will the levy change consumption habits, will it change the sweeteners used in the beverages we drink, and will there be any unintended consequences?
Collecting and analysing data will be key to trying to assess the impact of the levy.
Related topics: Policy, Beverage, Reformulation
MPs call for tougher restrictions on junk food marketing
Ireland sugar tax comes into effect
Soft drinks tax is of greatest benefit to poorer households: Lancet
UK sugar tax: The experts weigh in

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Robert Snodgrass hoping for a Norwich City link-up with Russell Martin for Scotland
Paddy Davitt
Published: 10:42 AM March 8, 2013
Norwich City Robert Snodgrass would relish the chance to link up with Russell Martin on the international stage after the duo's latest Scotland call-up for World Cup qualifiers later this month. - Credit: Paul Chesterton/Focus Images Ltd
Norwich City midfielder Robert Snodgrass would relish the chance to link up with Russell Martin on the international stage after the duo's latest Scotland call-up for World Cup qualifiers later this month.
The Canaries' right-sided combination have yet to feature in tandem for their country but were yesterday included in Gordon Strachan's first competitive squad for upcoming tests against Wales and Serbia.
'I've not played with Russ once with Scotland,' said Snodgrass. 'You get into the national team and when they see you as being at international level, you need to be ready whoever you're playing with. They think you should be good enough to play at that level. It doesn't matter who's in front of you, who's behind you. It would help a lot more if you were playing with these players week in, week out. We maybe get five days training in beforehand and playing with players in your team does help, but Russ hasn't really had his chance.
'Alan Hutton is in there and has been playing regularly and as for me, I'm still trying to get a run of games as well. I feel as if when I've had a chance and started a few games, I've done well, so I need to keep believing in myself and trying to push myself into the manager's plans and I hope I can get a start and try to help them to victory.'
Snodgrass knows the scale of the task facing the Scots to salvage anything from a disappointing qualifying campaign against a powerful Serbian outfit and a Wales team likely to feature the Premier League's in-form performer Gareth Bale.
'Everybody is talking about him just now. He is on fire, but as a footballer you concentrate on your own team and try to do as well as you possibly can,' he said. 'If you're call upon you need to be ready so I am looking forward to it. This one has not gone to plan at the start, but it might just be the case that teams are too good for us.
'We're up against someone like Serbia, who are probably the third most expensive team in the world, and there is a lot of expectation because there are some good Scottish players coming through and also playing at a higher level, which is good for the country, but you cannot just say because of that it will happen against these teams.
10 Should cars be banned from Norwich's steepest hill?
'You need to get things right on match day, and sometimes it just does not go to plan, which is probably why we had the (managerial) change. Hopefully we can put things right.'
Snodgrass was part of Strachan's first get together for a 1-0 friendly win over Estonia and the City midfielder says his initial impressions were positive.
'I thought he was bringing in different ideas to the way we've played under previous managers and he's given a lot of different people a call-up, which is interesting,' he said.
'He's got his way on how he wants to do things and you need to fit in with that. If he wants you to play that way, he will try to stress to you the way he wants you to play in that certain position. The way he goes about his business is he wants us to press and to play football. We've had players come in and out of the set-up and I think he's trying to get a balanced squad of players who can play in certain positions he wants.
'I'm just happy to be part of that and hope I can continue to be in his plans and try to get minutes under my belt and help the country. I think I'll get to know him a little bit more because we're going away for two weeks, two tough games. We've got a game at Hampden and there is no better stage really than playing there for your country.'
Strachan sprang a major surprise in his first competitive squad by calling up Brighton midfielder Liam Bridcutt. The 23-year-old Reading-born midfielder was joined by Dundee United winger Gary Mackay-Steven and Peterborough winger George Boyd in getting his first call-up. Boyd, who is currently on loan at Hull, previously featured for Scotland B in 2009 but had never made a full squad.
Southampton left-back Danny Fox has been recalled while there is no place for Rangers' Lee Wallace or Phil Bardsley. Blackpool winger Matt Phillips and QPR forward Jamie Mackie both drop out as does injured Celtic captain Scott Brown.
• Scotland squad: Gilks (Blackpool), Marshall (Cardiff), McGregor (Besiktas); Berra (Wolves), Caldwell (Wigan), Fox (Southampton), Hanley (Blackburn), Hutton (Mallorca), Martin (Norwich), Mulgrew (Celtic), Webster (Hearts); Adam (Stoke), Bridcutt (Brighton), Burke (Birmingham), Commons (Celtic), Dorrans (West Brom), Forrest (Celtic), Mackay-Steven (Dundee Utd), McArthur (Wigan), Morrison (WBA), Snodgrass (Norwich); Boyd (Hull), Fletcher (Sunderland), McCormack (Leeds), Maloney (Wigan), Miller (Vancouver), Naismith (Everton), Rhodes (Blackburn).


For the past several days activist and civil rights leader, Al Sharpton, has been attempting to flex his skinny body via the World Wide Web for Instagrammers and all other social media onlookers. Photos of the famous 62-year-old preacher outside of his usual suit and tie have now seemed to make their way onto social media, and if he wasn't trying to show off his athletic attire, then he was trying to do a pushup or two just for the sake of good measure.
On June 21st, however, we were all excited about National Selfie Day, and it was something that Sharpton seemed to be preparing for, for sometime. And even though selfies are free range, rapper Nelly is not here for the recent pics that have been posted in the name of Civil Rights.
The Country Grammar rapper, just like the rest of us, is perplexed at the sudden boost in social media confidence and presence that Sharpton has had in the last several days. He was so shocked that he recently went to Twitter and suggested that we boycott using social media until someone can get to the bottom of this and find out whose responsible for posting these pictures that Sharpton has been taking with his very own cell phone.
Though this is absolutely hilarious, we do have to ask these exact same questions when it comes Sharpton's most recent images.


I always start my seminars with the following story: when I was 17 and was a young and promising athlete, my warm-up could last maybe five minutes and I did not give much importance to this part of the training. Yes, the coach made us do the warm-up for a longer time, but never really explained why that was necessary and why it was so important. If we were warming up badly, he was just angry. When I was already in the national team, with six years of training experience, microtraumas began to appear. I realized that I just needed more time to get myself into the working training state. I finish this story with the phrase that "now all my training can be a warm-up," and I'm not ashamed of that at all.
Training experience, studying at the university, working with rehabilitators and physiotherapists helped me understand better why warm-up and hitch are as important as the main part of the training.
early diagnosis of potential injuries.
Gradual increase in metabolic demands.
All of us know that before any physical activity one is supposed to warm up the body, but not everybody can explain why this is necessary. Release of oxygen from hemoglobin occurs more efficiently when body temperature is elevated, which increases its muscle intake. This not only increases the efficiency of the cardiovascular system and reduces the burden on the heart, but also increases our muscle, ligament and joint capacity and they begin to work even more efficiently.
A gradual warm-up with a slowly increasing intensity promotes the physiological expansion of the blood vessels, which facilitates the release of blood from the depot to the working muscles. More blood = more oxygen, energy for muscle contraction and effective withdrawal of metabolites of muscle activity. This factor is important, among other things, for training CrossFitters. Therefore, many professional athletes, before performing a super intensive EMOM lasting 12 minutes, can prepare the whole body for the next 15-20 minutes.
Gradual increase in intramuscular temperature.
This helps to reduce the risk of damaging the muscles and fascia and to increase the mechanical mobility of the muscle due to a decrease in its total viscosity. The density of the intracellular fluid decreases, which allows actin and myosin to interact with less resistance. The "hot" muscle generates effort more efficiently than the "cold" muscle and is less prone to damage and tearing. That is why both crossfitters and weightlifters use the myofascial release and rolling technique: in the beginning of the workout to saturate the fascia with water and neutralize the trigger points, at the end of the session to relax it.
Strengthening the conductivity of nerve impulses to the muscles.
According to the science, the training and improvement of motor skills is more effective when body temperature is elevated due to the improvement in the conductivity of the nervous tissue. This increases the muscle contraction speed and manifestation of strength, as well as its relaxation. Warm-up is of great importance for sports, as well as all types of activities that require coordination, reaction, or dexterity. I think that everyone will agree with this fact when it comes to CrossFit and weightlifting.
Early diagnosis of potential injuries and pathological conditions.
My own warm-up begins with rowing or cycling. After that I do a warm-up of all the joints from the top down and a set of exercises with rubber. After this, depending on the lesson plan, I do several preparatory exercises with the barbell, and only then do I begin training the main exercises.
When you are a professional athlete, and winning a competition is your life's goal, then you must follow all the rules of the training process, because this is your work. You not only have no right to risk your sports shape, but you also must do everything to avoid the risk of injuries. I believe that all of the above is also important for athletes who train for themselves and their own pleasure. The habit of doing the right warm-up should be part of a culture of proper training, regardless of the athlete´s level or kind of sport.


My fingers are crossed for you too! I hope this is all behind you soon.
Thank you, Amy! I just got word from My doc that the PICC can come out. Woo hoo!
Thank you! I am very much looking forward to relaxing on the beach. Once the PICC comes out I think I can finally declare that I am done with breast reconstruction.


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Scientists found a possible solution to the reduction in quality that comes from storing olives at ambient temperatures -- storage at moderate freezer temperatures.
Olives deteriorate during the storage time between harvesting and processing, a problem that harms the quality of the oil extracted from them. Therefore, it's important to find ways to store the fruit for longer periods that won't adversely affect it.
Researchers tested the effects of moderate freezer-storage on olives and found the quality of the olive oil derived from them is comparable to the quality of oil derived from non-frozen fruit.
Of these, the time interval between harvesting and milling is especially critical. When the capacity of the olive milling plants can't keep pace with the volume of olives, the fruit is stored at the temperature of the surrounding environment for several weeks prior to processing.
Consequently, extra refining of the oil is necessary, which increases production costs.
Prior research had shown that freezing olives at -18°C for 24 hours reduced the nutrient profile and stability of the oil extracted from them. In an attempt to discover a solution to the storage problem, the new study, conducted in Iran, tested the effects of freezing olives at moderate temperatures of -4°C. The scientists also endeavored to determine if one cultivar of olives responds better to freezing than another.
The cultivars Mission, Koroneiki and Arbequina were chosen because they are commonly used in Iran. After harvesting, a control group of olives was immediately processed into oil, while other groups were stored at -4°C for one week and three weeks before processing. The oil from all groups was assessed for peroxide value as well as the content of fatty acids and the pigments of chlorophyll and carotenoids.
Analysis of the results showed the oil extracted from the olives frozen at a moderate temperature had the same characteristics of the oil extracted from the control group. Freezing didn't reduce the content of beneficial nutrients. Moreover, no differences were noted between cultivars.
The authors concluded that freezing could be a viable means of preserving olives during the period between harvesting and processing. They noted that conducting the same study on more cultivars and performing a broader spectrum of tests on the extracted oil may be worthwhile.
However, the positive findings led them to believe that olives could be harvested at the optimal time and safely stored at moderate frozen temperatures while being shipped to mill plants. Upon arrival at this destination, the olives could remain frozen until plant workers were ready to begin the oil extraction process. The study was published in the journal Advances in Horticultural Science.


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56-й Берлінський міжнародний кінофестиваль проходив з 9 по 19 лютого 2006 року. Фестиваль відкрився фільмом Сніговий пиріг Марка Еванса. Цифрова реставрована версія фільму Сема Пекінпи 1972 року «Пет Гаррет і Біллі Кід» стала заключним фільмом. Головою журі була обрана британська актриса Шарлотта Ремплінг. «Золотого ведмедя» отримав фільм «Ґрбавіца: Країна моєї мрії» режисерки Ясміли Жбанич.

Ретроспектива була присвячена кіноактрисам 1950-х років під назвою «Дівчата мрії». На фестивалі показали кінозірок 1950-х років. На фестивалі було продано понад 186 000 квитків, відвідувачі були зі 120 країн, у тому числі 3800 журналістів.

Журі

До складу журі фестивалю оголошено:

Міжнародне журі

 Шарлотта Ремплінг, актриса (Велика Британія) — голова журі
 Метью Барні, режисер і мультимедійний художник (США)
 Яш Чопра, режисер і продюсер (Індія)
 Марлен Горріс, режисерка (Нідерланди)
 Януш Камінський, оператор-постановник (Польща)
 Армін Мюллер-Шталь, актор (Німеччина)
 Фред Рус, продюсер (США)
 Лі Йон Е, актриса (Південна Корея)

Журі за найкращий повнометражний перший фільм

 Валентина Черві, актриса (Італія)
 Горан Паскалевич, режисер (Сербія та Чорногорія)
 Ганс Вайнгартнер, режисер і продюсер (Австрія)

Міжнародне журі короткометражних фільмів

 Маріела Бесуєвскі, продюсер (Іспанія)
 Флоріан Галленбергер, режисер і сценарист (Німеччина)
 Юн-Ван О, продюсер (Південна Корея)

У конкурсі
На «Золотого ведмедя» та «Срібного ведмедя» претендували такі фільми:

Нагороди

Журі присудило такі нагороди:

 Золотий Ведмідь:
 Ґрбавіца: Країна моїх мрій by Ясміла Жбаніч
 Найкращий короткометражний фільм — Never Like the First Time! by Йонас Одель
 Срібний ведмідь:
 Найкраща музика до фільму — Isabella by Пітер Кам
 Найкращий актор — Моріц Бляйбтрой за Елементарні частинки
 Найкраща жіноча роль — Сандра Гюллер за Реквієм
 Найкращий режисер — Майкл Вінтерботтом & Мет Вайткросс for Дорога на Гуантанамо
 Найкращий короткометражний фільм — Penpusher by Гійом Мартінес
 Видатний мистецький внесок — Юрґен Фоґель for Вільна воля
 Гран-прі журі — Мило by Пернілле Фішер Крістенсен
 Почесна відзнака:
 Короткометражний фільм — Мар'ям Кешаварц for El día que morí
 Почесний Золотий Ведмідь:
 Анджей Вайда
 Ієн Маккеллен
 Berlinale Camera:
 Міхаель Балльгаус
 Юрген Бетчер
 Лоуренс Кардіш
 Пітер Б. Шуман
 Ганс Гельмут Принцлер
 Найкращий дебютний фільм:
 Мило by Пернілле Фішер Крістенсен (режисерка) і Ларс Бредо Рабек (продюсер)
 Приз глядацьких симпатій «Панорама»:
 Томер Гейманн for Паперові ляльки
 Короткометражний фільм — Талья Лаві for Заміна
 Кришталевий ведмідь:
 Найкращий короткометражний фільм — Cameron B. Alyasin for Never an Absolution
 Найкращий повнометражний фільм — Нільс Арден Оплев for We Shall Overcome
 14Plus: Найкращий повнометражний фільм — Генрі Меєр for Four Weeks in June
 Кришталевий ведмідь — особлива згадка:
 Найкращий короткометражний фільм: Ірина Бойко for The Thief
 Найкращий повнометражний фільм: Ауреус Соліто for Розквіт Максимо Олівероса
 14Plus: Найкращий повнометражний фільм: Клод Ганьйон for Каматакі
 Гран-прі Німецького дитячого фонду:
 Розквіт Максимо Олівероса by Ауреус Соліто
 Німецький дитячий фонд — Спеціальна нагорода:
 A Fish with a Smile by C. Jay Shih
 Німецький дитячий фонд — Особлива згадка:
 Найкращий короткометражний фільм — Vika by Тсівія Баркай
 Найкращий повнометражний фільм — I Am by Дорота Кендзежавська
 Тедді:
 Найкращий короткометражний фільм — El día que morí by Мар'ям Кешаварц
 Найкращий документальний фільм — Поза межами ненависті by Олів'є Мейру
 Найкращий повнометражний фільм — Розквіт Максимо Олівероса by Ауреус Соліто
 Нагорода журі Тедді:
 Patrick Carpentier for Combat
 Премія FIPRSECI:
 Конкурс — Requiem by Hans-Christian Schmid
 Форум нового кіно — Со Йон Кім for In Between Days
 Panorama — Knallhart by Детлев Бак
 Приз екуменічного журі:
 Конкурс — Grbavica: The Land of My Dreams by Ясміла Жбаніч
 Форум нового кіно — Розмови в недільний день by Кхало Матабане
 Панорама — The Collector by Фелікс Фальк
 Нагорода C.I.C.A.E.:
 Форум нового кіно — Недалеко від дому (фільм) by Далія Гейгер
 Панорама — Чжан Юань (режисер) for Маленькі червоні квіти
 Нагорода Netpac:
 Шановний Пхеньян by Ян Йон Хі
 Берлінська премія IPU:
 The Fence by Рікардо Іскар
 Приз Альфреда Бауера:
 Родріго Морено for El custodio
 Label Europa Cinemas:
 Detlev Buck for Knallhart
 Caligari Film Award:
 Бен Гопкінс for 37 Uses for a Dead Sheep
 DIALOGUE en Perspective:
 Бюлент Акінчі for Running on Empty
 DIALOGUE en Perspective — Особлива згадка:
 Флоріан Гааг for Состав
 Talent Movie of the Week:
 Філліп Ван for High Maintenance
 Berlin Today Award:
 Анна Азеведо for BerlinBall
 Оцінка конкурсу:
 Аласдайр Рейд
 Премія Манфреда Зальцгебера:
 Томер Гейманн for Паперові ляльки
 Нагорода короткометражного фільму «Панорама»:
 Тала Хадід for Your Dark Hair Ihsan
 Премія DAAD за короткометражне кіно:
 Rony Sasson for Swanettes
 Peace Film Award:
 Ясміла Жбаніч for Grbavica: The Land of My Dreams
 Кінопремія Amnesty International:
 Масуд Аріф Саліх for Narcissus Blossom
 Премія Вольфганга Штаудте:
 Тіцца Кові for Babooska
 Приз Гільдії німецьких художніх кінотеатрів:
 Матіас Гласнер for The Free Will
 Femina-Film-Prize:
 Ясмін Халіфа for Bye Bye Berlusconi!
 Читацьке журі «Berliner Morgenpost»:
 Роберт Альтман for Компаньйони
 Читацьке журі «Berliner Zeitung»:
 Сіон Соно for Дивний цирк
 Читацьке журі «Siegessäule»:
 Томер Гейманн for Паперові ляльки

Примітки

Посилання

 56-й Берлінський міжнародний кінофестиваль 2006
 56-й Берлінський міжнародний кінофестиваль на сайті IMDb
 Офіційний сайт програми
Кінофестивалі 2006
Берлінський міжнародний кінофестиваль


text:
On This Day in 1971, Pink Floyd Received a Bill for Thousands of Dead Fish
May 15, 2019 by Dan Reifsnyder
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To say that Pink Floyd has a bit of a strange history is an understatement. From the trippy rumors that Dark Side of the Moon syncs up perfectly with The Wizard of Oz, to having the first rock album to ever be played in space, a live album (sans audience) recorded in Pompeii, and writing one of our favorite songs in 7/4, this band has intrigue.
So for a story to be considered unusual by Pink Floyd standards, it would have to be exceedingly strange. Well, read on, because I bring you one of the strangest rock 'n' roll tales of all time.
The location was the Crystal Palace Gardens — the former location of the Crystal Palace, a holdover from the World's Fair era which featured huge statues of Egyptian sphinxes, giant water towers, and fountains that shot water hundreds of feet in the air. In other words, your typical, tripped out Pink Floyd concert venue. After the demise of the eponymous Crystal Palace, the site became the location of choice for many cultural functions. This gave rise to the Crystal Palace Garden Parties, a series of Woodstock-like events held between 1971 and 1980, featuring powerful live acts such as The Beach Boys, The Faces, Elton John, Lou Reed, Santana, Bob Marley, Joe Cocker, and, of course, Pink Floyd.
Our story begins on May 15, 1971, with the night's event featuring Floyd as the headliner, supported by Mountain, The Faces, and Quiver.
Just as Pink Floyd took the stage to perform at the end of a long afternoon, torrential rains began. But the band didn't let this dampen their spirits. They continued playing and brave fans held out with plastic sheets to hear the band complete their set.
As legend has it, at one unfortunate moment, the band rang out and unleashed a single powerful note, and every single fish in the large nearby pond died.
A better shot of the pond in front of the stage at Crystal Palace Gardens, pictured here in 1974.
Okay so first of all, did this really happen? And how could this actually happen?
Given that this was nearly 50 years ago, memory and lore may have warped the story, but some people really do believe that a particularly sour note caused those fish to die. In reality, their death was more likely due to a perfect storm of co-occurring events.
It all started to go wrong with the band's giant inflatable octopus.
Yup, that's right. The band had set up a giant inflatable octopus in the pond near the stage. They intended to blow it up with underwater smoke flares. Unfortunately, overeager concertgoers wading around the water caused the octopus to develop several tears. These caused smoke to escape into the pond instead of filling the octopus.
To make matters worse, the band had also dumped a ton of dry ice, orange smoke bombs, and fireworks into the pond mechanism for added psychedelic effects. The combination of these likely poisoned and suffocated the marine life in the pond.
And if that hadn't already killed them all off, the final blow could have been Pink Floyd's patented quadraphonic sound system — a wall of surround sound placed around the outdoor venue. This sent massive sound waves through the earth toward the pond. Sound was everywhere, it was loud, a shock to everyone and everything. The roughly 95 dB vibrations coming off the stage likely killed any remaining fish struggling to breathe in the smoke-filled water.
It may have even killed the water lilies.
The agony continued when later, the band received a bill from the city government to repay the cost of the thousands of dead fish and restore marine life to the garden, blaming Pink Floyd outright for the death toll.
This event has become so imprinted on the minds of Floyd fans that when researchers named a species of shrimp after the band, many assumed it was a reference to the band's killer instincts. Rather, it has more to do with the fact that the shrimp's giant, neon-pink claw is capable of producing an awe-inspiring 210 dB sound wave that kills small fish with a single snap.
Synalpheus pinkfloydi was recently named after the band Pink Floyd, for the distinctive coloration of its claw. Photo courtesy of Sammy De Grave (Oxford University).
That's one heck of a reputation for a rock band, and one heck of a fish tale.
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Tags: concerts, Fishing, history, live performance, music history, Pink Floyd, this day in history
Dan Reifsnyder
Daniel Reifsnyder is a Nashville-based, Grammy-nominated songwriter, having started his musical journey at the age of 3. In addition to being an accomplished commercial actor, his voice can be heard on "The Magic School Bus" theme song and in Home Alone 2. Throughout his career, he has had the honor of working with the likes of Michael Jackson and Little Richard among many others. He is a regular contributor to several music related blogs, including his own, Songsmithing.net.
A Brief-ish History of the Drum Kit
Emulating Boards of Canada's Classic Synth Sound Without Breaking Your Bank or Brain
How to Win Over a Lame Crowd
Why You Need to Take Visual Aesthetics, Style, and Presentation Seriously
What the "Tristan Chord" Is and How to Use It


text:
2-Year-Old Dead of Laminitis at Belmont
By Patrick Battuello | March 10, 2020
At Belmont yesterday, according to the NYS Gaming Commission: "Krugerrand found to have severe laminitis LH, euthanized due to poor prognosis." Laminitis, for those who may not know, is inflammation of sensitive tissue inside a horse's hoof. It is typically very painful – a horrible way to die. Krugerrand was but two years old.
This is horseracing.
Two-year-old fillies and colts should not be locked up in a stall 23 hours a day; they should be out on pasture and allowed to graze and get natural exercise. They should not be forced to carry weight and run and run fast. May KRUGERRAND rest in peace. This is sad and most likely could have avoided.
Sopher D says:
It is my belief that Laminitis leading to Founder is the result of many different reasons one being sudden changes in diet, exercise,or too much of one or the other,It is also of my belief that a Horses Physiological System is so different from that of humans that it may be fairly easy to cross that fine line.I also believe administering experimental PEDs into a horses system,Increases the risk of disturbing a horses physiological system ( leading to tying up syndrome,which can lead to circulation problems and laminitis and founder especially if you have trainers administering or experimenting with relatively new Performance Enhancing Drugs that disturbs the horses system )some of these PEDs have little history as to their negative effects on the horse and it's effect on the performance horse. One horse may be fine with the experimental PED and another may be on the brink of a deadly heart attack or foundering when racing on an experimental or relatively new PED. Most trainers are willing to take that risk. My question at this point is,would these trainers be willing to allow their Children's High Scool Coach to administer a relatively new or any PED to their student athletes. Alledgly Jason Servis and Jorge Navarro have done very well for themselves,each developing world champion race horses.How many horses have been MURDERED by these super trainers while they win their way to the top and I'm not just talking about these two alleged cheaters. All trainers are looking for an edge to win. All jockeys are looking for an edge. Once upon a time,a Hall of Fames world class,JOCK said to me. "I DON'T LIKE ANY GAME I CAN'T CHEAT AT" end of quote….It's embedded in the culture. If you examine trainers winning at twenty per- cent or higher I think you will find many dead horses left in their wake. A few years ago there was a super trainer that lost several horse in a very short span of time. ( STOP EXPERIMENTING TO FIND THE NEXT EDGE ) The next set of trainers that should be examined are the regular 5-10% winning trainer all of a sudden their win percentage jumps up to 12- 18%. And their horses show no tiredness in the stretch.All of this is nation wide and even more at your major racetracks. Can I get a VETS. opinion to dispel my opinions? STOP THE UNCONSCIONABLE ABUSE !
Gina Powell says:
Laminitis is a chronic condition.
There are long term signs that a racehorse is developing laminitis.
Most cases are PREVENTABLE with proper care, medication, and REST!
Absolutely everything that the daily business practices of horse racing entails contributes to laminitis.
For example, nutrition plays a huge role especially changes in diet.
Just think about that for a moment.
About 90% of racehorses run in the "claiming ranks" and most all racehorses are sold like slaves from owner to owner, trainer to trainer with constantly changing diets that aren't always good.
Secondly, a racehorse will shift onto their healthy hoof to avoid the pain so by virtue of running in the same direction, same turns, race after race further contributes to this very painful condition.
Thirdly, imagine a racehorse with this excruciating pain getting repeatedly beaten during the race. This is blatant racehorse cruelty, abuse and inhumane treatment of a sensitive animal. This is a major contribution to racehorse disease and breakdowns.
Fourthly, many of the tracks with dirt surfaces contain stones of various sizes. This is COMMON. As the racehorses run over the surface the stones become more exposed and they are running at high speed over these stones with this painful condition. Stones also contribute to hoof issues including laminitis, which is why a dirt surface has more breakdowns as statistics clearly show.
Fifthly, colic. Both colic and laminitis tends to be intertwined to some degree. Most all racehorses are running with ulcers, which exacerbate one or both of these conditions.
Six, dehydration. Lack of hydration in the thoroughbred contributes to hoof issues and the commonly used widely acceptable drug in horse racing is Lasix. What does Lasix do? It dehydrates the racehorse to unnatural levels and it's given on a consistent basis.
It goes on and on – everything – all the daily business practices contributes to laminitis.
Equally worse, are the secret vet/treatment records because nobody knows at what stage a particular racehorse has laminitis as they get sold from barn to barn without the treatment records following them. So the window of opportunity to reverse this painful, chronic condition is not even provided let alone addressed.
This is a complete betrayal of racehorses at every single "step" of the way and every single one of them are one step away from dying and it's directly due to their daily business practices and their deliberate and malicious neglect and refusal to change things as they operate year after year with methods that are proven DEADLY for racehorses.
This is all done directly due to the wagering profits as they need racehorses, pain or not, to fill races for them.
Reforms will not stop racehorses from dying because this entire business is based on damaging the racehorse.
Wouldn't the trainer know about the laminitis before even trying to race this poor horse?
I believe once the process of laminitis starts it's tough to get a do over. I would think heat in the foot would be the first indication. Some trainers might even disregard this first early sign of heat,due to ignorance.


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Etheridge: The Model Pro
by LRCN | Sep 28, 2012 | Uncategorized | 0 comments
Etheridge will be hopeful of regular football at Bristol Rovers
A good profile on Fulham third choice goalkeeper and Philippine sensation by the BBC following his loan move to Bristol Rovers. He has already played, keeping a clean sheet last weekend, and is expected to feature again tomorrow for his temporary club. Meanwhile Dan Burn is the second Fulham youngster to go out on loan in a week, joining Gary Johnson, self-confessed Fulham fan, at Yeovil.
LRCN
Neil Etheridge's journey from Manila to the Memorial Stadium
Bristol Rovers' loan signing of Fulham goalkeeper Neil Etheridge earlier this month may have slipped under a lot of people's radars but he is, by his own admission, kind of a big deal.
At the tender age of 22, Etheridge has 37 international caps for the Philippines, a contract with a Premier League club, 100,000 followers on Twitter and an army of female fans – thanks to his ventures in the world of underwear modelling.
And all of this despite the fact he only made his professional league debut last weekend.
He has even been held in the same esteem as boxer-come-actor-come-politician, and national hero, Manny Pacquiao.
"The Philippines is a very passionate country," he told BBC West Sport. "With me playing over here in England they see me as a big deal.
"But there are bigger stars than me. Manny is the biggest star."
Yet Filipino football's poster boy has gone relatively unnoticed in the English game.
A graduate of Chelsea's academy set-up, London-born Etheridge has been an understudy to Mark Schwarzer at Craven Cottage for the past two seasons and until his arrival at the Memorial Stadium, his only league games were with non-league minnows Leatherhead.
He was playing for England schoolboys when he was asked to switch allegiances to the Philippines – for whom he qualifies through his mother – and had never kicked a football for Fulham's first team.
Aged just 18, Etheridge made his international debut in the Asian Football Confederation Challenge Cup game against Brunei.
He has gone on to claim the number one shirt, and played an integral part in one of their biggest adventures – in the South East Asian Cup in 2010.
"We weren't even meant to qualify, but we did, and we were drawn in the hardest group against the highest-ranked teams [Vietnam and Singapore]," he said.
"We beat them both and went through to the semi-finals. We lost to Indonesia over two legs but both games were played away because we didn't have the facilities.
"We played in front of 85,000 in the first leg and 100,000 in the second leg – it's something I'll never forget.
"People will think it was a strange decision to make at such a young age but I've loved every moment of playing for them.
"I want to take football forward over there."
It seems a bold statement for such a young player, but his pop star-like fame has helped raise the game's profile in his mother's homeland.
"Basketball is the number one sport and football is quite far behind," he said.
"But the funding is slowly coming in and there's a lot of hard work going on to try and push football.
"I'm trying to be an ambassador over here and over there. I've been called that a few times. It doesn't put any pressure on me and, in fact, it gives me confidence."
And although confidence is something which oozes from the young keeper, he admits to being apprehensive about making his Football League debut, which came in Rovers' uneventful 0-0 draw with Fleetwood, in front of a humbling 5,000 fans.
"It's kind of crazy what I've done before but I was still nervous for my first game," he said.
"You try to blank it out and try and get on with the job in hand.
"There were nerves there but they seemed to calm down once I stepped on the pitch. It was a good result for us and hopefully I can carry on in the right direction."
His image is as famous as his ability between the sticks in some parts of the world, and Etheridge is happy to continue living his life in the spotlight.
"Modelling isn't really my forte," he says, coyly. "But I like endorsing products – it comes with the sport.
"It puts me in a good light as well. The people I work with help people in the Philippines as well, so it's not just for myself, it's for others as well."
Article sourced from BBC Website: http://www.bbc.co.uk/sport/0/football/19741354


Posted on 05/22/14 in Way to Go!
Employee efforts and achievements should be recognized. Bestowing ribbons upon the highest quarterly earner or the staff member who displays exemplary leadership skills is a traditional and classic means of showing appreciation. From participation in a summer swim meet as a five year old to being awarded for a great military achievement, ribbons are used at all ages and for all events.
Originally regarded as a sign of nobility and prestige, the ribbon has retained its significance over the years. Ribbons first became popular in Europe during the Middle Ages, when traders from Asia would sell exotic ribbons of silk or other precious fabrics to wealthy European families. They were used to show status and to customize the dresses or clothing they were added to. They soon became a popular fashion accessory for all classes, but the symbology of ribbons as markers of achievement remained.
Even now, military organizations use specific ribbons to designate rank and experience. Medals such as the Gold Star, the Silver Star, and the Bronze Service Star are suspended from a ribbon or attached to the ribbon bar on a uniform, and there are a restricted number of medals to each ribbon.
While ribbons given out by a company to award good performance by its most productive employees may not have the same value as a Purple Heart Medal worn by an Army Veteran, a ribbon still communicates success and commands a level of admiration. Keeping the ribbons and medals exclusive also raises the esteem and honor of the award.
In sports children participate in, like a swimming league, for example, everyone who swims receives a ribbon for participation. This makes all the young swimmers feel proud of their achievements. As sports become more competitive, however, the criteria for being awarded a ribbon change. In something like a swim meet, ribbons are awarded as follows: blue for first place, red for second place, and white for third place.
The rarity of the ribbons can make them mean more, and the fact a swimmer only receives a blue ribbon for being the very best in his or her category makes it even more significant. Similarly, all ribbons awarded for exceptional performance should be something the winner can be proud of, and not simply a sign of their participation.
If a company chooses to offer promotional ribbons to their employees to reward their valued service, they are participating in a time-honored tradition. It would be best for the company, and the employee, to recognize the ribbon's worth and the meaning behind it, instead of seeing it as simply a strip of fabric.


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Keita Takahashi: The Goofy and Loveable Black Sheep of Game Designers
hookshotchargebeamrevive	Game Dev Case Studies	 March 22, 2021 March 22, 2021 11 Minutes
In 2004, years before the birth of the indie game scene, years before people began debating whether video games counted as art, Keita Takahashi gave the world Katamari Damacy. The video game industry hasn't been the same since.
Keita Takahashi at PAX West in 2018 showing a demo of Wattam, his most recent game
If there ever was a person meant to be an indie game developer, it's Keita Takahashi. This man pursues artistic expression above any other priority. He openly criticizes beloved game studios, including Nintendo and Sony, for stifling creativity in pursuit of profits. Not even his previous employer, Bandai Namco, is immune from his censure, a behavior rarely seen by Japanese developers. Aside from his iconic art style, no two games are alike — his first involves rolling up a ball of everyday objects, his second involves stretching a noodle-like creature, and his most recent game involves making friends with sentient toys. His games simultaneously embrace child-like joy and adult anxiety. A quick scroll of his twitter reflects that mindset with pictures of museum exhibits, concept art, and toilet paper rolls arranged to look like a face.
He's such a delightful human, and yet he's such an enigma. Trying to pin down Takahashi's history or philosophy to any common themes is going to be tricky, but I'm going to try anyway.
This goat planter was one of Keita Takahashi's many functional sculptures in art school – note how the water is designed to drain through the goat's "udders"
Getting the Ball Rolling: Early Years and Katamari Damacy
Keita Takahashi went to Musashino Art University in the mid-1990s with the aim of becoming a sculptor. During his time at school, however, he noticed students throwing away their art once they were finished, or leaving it ignored in a corner, and he saw that as a wasteful tragedy. He aimed to create artwork that was both functional and humorous, striving to delight patrons every day so that they wouldn't ever want to throw out his work. By the time he graduated, however, his focus on usefulness and fun pushed him away from making real sculptures and instead towards making virtual ones in video games. He began working for Namco in 1999 as a graphic designer and artist, already harboring dreams of making his own games someday.
For years he would experiment with game ideas in his spare time, and while none of these ever got off the ground, his colleagues and supervisor encouraged him. These ideas formed a primordial soup that would eventually evolve into Katamari Damacy. Inspired by a Sony-made prototype game called Densen and the traditional Japanese schoolyard game tamakorogashi, Takahashi eventually created an idea where the player would be set in modern-day Japan, rolling up a ball to make it bigger. At first, Takahashi struggled pitching this idea to the Namco executives. His supervisor suggested that he go to Namco's game design school, where he could enlist the help of the students to create 3D models and flesh out a prototype. Using a misfit team of students and bored arcade engineers, the team made a working demo using a leftover GameCube development kit, though they would eventually move production over to the PlayStation 2. In 2001 Namco finally gave the project the greenlight for commercial release with only one-tenth of the budget normally allocated to a game. While Katamari Damacy was technically developed and published by Namco, its creation from the scraps of the studio gives the appearance of an early-2000s version of an indie game.
As the game developed, the first tentpoles of Takahashi's game design philosophy were staked into the ground. It was of utmost importance to him that the game be simple, full of novelty, and make the player laugh. He even deliberately ignored input from the rest of Namco to make the game more complex. In Katamari Damacy, the ball would acquire random objects from the environment and grow bigger. The player would have to reach a certain size before the timer ran out. Takahashi had already created characters in previous prototypes, including The Prince, the pint-sized playable avatar, and The King of Cosmos, an aloof and narcissistic father. Takahashi decided they were a perfect fit for Katamari Damacy. The game was released in Japan in the spring of 2004 to moderate success, and when Namco localized the game in the fall of 2004 for the United States, it became a cult classic. It sold out of its first printing and even won the Excellence in Game Design award at the Game Developers Conference (GDC) of 2005. The game resonated strongly with both players and critics alike, and fans began asking for a sequel. Namco was happy with the financial results and quickly began work to on one.
However, just as his career began to take off, Takahashi was already clashing with his employer.
Noby Noby Boy screenshot taken from Sir TapTap's Let's Play videos
Stretching Himself Thin
Keita Takahashi hates the game industry's never-ending list of sequels and franchises. He believes it squashes creativity. Instead of pursuing true artistic expression, studios instead regurgitate the same product with little financial risk. This fundamental clash between himself and Namco would prove to become a wedge that would eventually drive the two apart as the years went on.
Namco told Takahashi that they were going to make a sequel to Katamari Damacy, and they didn't care whether he worked on it or not. In the end, Takahashi felt he could at least deliver a product that fans would enjoy rather than see it bastardized by a corporation who might not understand the game. One year after the first game's release, Namco published We Love Katamari, the first and only sequel Takahashi would ever work on. He expanded the gameplay for a wider variety of environments and challenges, and took the opportunity to tell the backstory of The King of Cosmos in cutscenes. Namco would continue to publish Katamari sequels in the coming years, and Takahashi would have nothing to do with them.
In 2006 Namco merged with Bandai, and to Takahashi's point of view, the company became even more focused on products and profits. Still, Takahashi had earned enough clout within the company to merit creating a new IP. His new game would involve controlling a stretchy creature that could explore procedurally-generated environments. Players would upload how far they stretched that day, and the game would track the community's total length using a super elastic character called Girl. Girl's task was to stretch the length of the solar system. With each new planet that Girl reached, a new world would be unlocked for every player, allowing new types of levels to be generated. It took three years, but in 2009 Takahashi and his team finally released Noby Noby Boy on the PlayStation 3. While it didn't generate as much universal praise as Katamari Damacy, it still gained a loyal fanbase. It took 6 years for the community to collectively "finish" the game; in 2015 they managed to stretch Girl from Earth all the way out to Pluto, back to the Sun, and then around Mercury and Venus to arrive at Earth again.
Takahashi's concept designs for massive playground equipment remind me of Claes Oldenburg's oversized public sculptures
At around the same time, Takahashi was asked by the Nottingham City Council to design a play area for their municipal park. Takahashi jumped at the opportunity, as designing a playground was something he had been dreaming of for a long time. His designs were massive in scale and required multiple children to operate, including a park-sized see-saw that kids on the ground would need to pull and push. In Noby Noby Boy and in the Nottingham Park concepts, a new tentpole of his game design struck ground — Takahashi is committed to creating a community-oriented experience, where people can peacefully cooperate towards a shared goal.
Unfortunately, the playground designs never left Takahashi's notebook. Whether due to budget limits or safety concerns (likely both), the project was cancelled. However, it appears that this project gave Takahashi the tantalizing taste of independent work, because soon afterwards he quit Bandai Namco.
Screenshot from Alphabet, an experimental multiplayer game released in 2016 featuring 26 playable letters in a footrace
The Fun-omenal Free Agent
Initially, Keita Takahashi's freelance efforts were filled with instability, but eventually he found a place to settle down. In 2010 Takahashi and his wife began their own independent studio Uvula, which created indie projects here and there, some of them never getting official releases. In 2011 they left Japan and moved to Vancouver, Canada, where Takahashi worked for an indie studio called Tiny Speck on a free-to-play, combat-free MMO called Glitch. Unfortunately Glitch never made it out of Beta and the studio was dissolved.
Keita Takahashi (left), with co-developer and friend Robin Hunicke (right) at a PlayStation Experience panel in 2014
The move to Canada didn't prove to be entirely fruitless, though. At Tiny Speck, Takahashi reunited with an old friend, Robin Hunicke, an American game developer who was partially responsible for Takahashi's GDC award for Katamari Damacy. When Tiny Speck dissolved, Hunicke started up her own indie game studio Funomena in San Francisco. In 2012 Takahashi moved to San Francisco to work with Hunicke as well as continue his own freelance projects. During the 2010s, the biggest changes in Takahashi's design approach came from the birth of his child and the move to North America. The sudden shift in culture impacted how he wanted to bring people together and the ever-present perspective of his child changed what game mechanics he tried. In 2015 Takahashi released WOORLD, an augmented-reality app that allowed players to decorate indoor spaces and guide characters through various obstacles and tasks using the player's living room as the setting. In 2016 he released Alphabet in collaboration with other independent developers, a racing game where each player controls a letter of the alphabet. His most recent project experienced some difficulties as it was originally co-developed with Sony's Santa Monica Studio as a PlayStation exclusive, but eventually Sony lost that exclusivity when Annapurna Interactive became the game's new publisher. In 2019 Takahashi finally released his most recent game, Wattam, on both PlayStation 4 and PC. While it doesn't have the universal acclaim of Katamari Damacy, it still received several nominations for awards that following year.
Screenshot from Keita Takahashi demonstrating WOORLD in a reveal trailer
It is unclear what Takahashi is currently working on, though he will likely continue his artistic endeavors both in and outside of video games, and may in fact try new ways to blend the two. In 2018 he put together an exhibition in Los Angeles called Never Ever Quest, which was an art collection designed to be experienced like an RPG. Similarly in 2019 the Telfair Museums in Savannah, Georgia displayed a combination exhibit of Takahashi's sculptures and video games together. Regardless of what he does, you can be sure he will do his own thing, and no one else's.
My Impressions: Wattam I Playing?
I wish more game developers had Keita Takahashi's courage. Katamari Damacy is a delightful game that can only come from an artist who is willing to experiment and take dramatic risks in game design. Its sequel We Love Katamari doesn't exactly shake up the core gameplay much, but the new environments and scenarios were so surprising that it's easily the best game in the series. I didn't get a chance to play Noby Noby Boy when it came out on PS3, but I'm fascinated just knowing that this game exists. What kind of video game has players cooperate on that massive of a scale? And after playing Wattam, I feel like there's nothing Takahashi will make that I won't enjoy.
I understand why Wattam didn't receive as much praise as Katamari Damacy. The power fantasy mechanic of the Katamari series is immediate and innately satisfying. Wattam, on the other hand, doesn't exactly show its gameplay loop right away. You'll explode a confetti bomb to make some sentient flowers laugh, you'll hold hands to make a friendship circle, and then you'll do some errands when more friends arrive. I set down my controller thinking, "What am I even playing? What's the point to all of this?" Wattam's moment-to-moment gameplay is simplistic and unfocused. However, after a while the scale of the game began to zoom out, both literally and figuratively, and I could see the themes of friendship growing, and the feedback loop of creating a community began to take shape.
Takahashi's art style has always been distinctly childish, and Wattam certainly embraces that visual style. It invokes a toddler's playpen or a preschool classroom. A soundscape, complete with crying and laughing kids, accompanies the cutesy look. You could certainly mistake Wattam for a kids TV show. Underneath that façade, however, Takahashi incorporates his adult fears into his games, creating this dynamic emotional contrast that elevates the experience above being just "a kid's game."
In Katamari Damacy, for example, everything seems fun and rosy until you fail a mission. I don't believe anyone who says they failed a mission and didn't feel traumatized by the King of Cosmos. Takahashi perfectly captures the weight of high expectations from parents and the anxiety, if not outright terror, it can produce in your work. I also feel like Takahashi hid a message about the Sisyphean nature of adult life in that game – you toil all day, rolling up a massive amount of work, and yet it's rarely to anyone's satisfaction. You just have to go out and do it again the next day. I'm not sure if it was intentional or not, but the parallel is there all the same.
Wattam similarly has a darker side that explores the weight of loneliness and separation from loved ones. It also handles situations when people are hurtful with sudden emotive rawness. I didn't expect the ending to turn out the way it did, and I didn't expect the dialogue options that it gave me. If his games never embraced this dualistic nature, I don't think they would be quite as meaningful. Wattam's message about community would lose its impact without the foil of isolation.
I respectfully disagree with most critics out there — I think Wattam is masterfully crafted. Only a person like Keita Takahashi could've made it. While it may not have as compelling a gameplay loop as Katamari Damacy, it compiles all of his philosophies together into one comprehensive game. Now more than ever we need games that embrace humor and community. One day I hope he does another exhibit that I can attend in person, but if not I'll look forward to whatever weird, joyful game he has up his sleeve.
Further Reading / Sources:
https://twitter.com/KeitaTakahash
https://www.uvula.jp/
https://www.telfair.org/exhibitions/keita-takahashi/
https://www.telfair.org/article/keita-takahashi-sculpture-to-games/
https://youtu.be/KSv63cFW7bw
https://www.moma.org/collection/works/164919?artist_id=42266&page=1&sov_referrer=artist
Hall, L.E. (2018). "Katamari Takes Shape". Katamari Damacy. Boss Fight Books. ISBN 978-1-940535-17-3.
https://web.archive.org/web/20080624031512/http://www.gamasutra.com/gdc2005/features/20050311/postcard-sheffield.htm
https://www.gdcvault.com/play/1020309/Rolling-the-Dice-The-Risks
https://web.archive.org/web/20090716185305/http://cs.northwestern.edu/~hunicke/blog/content/kdpostmort.htm
http://www.gamespy.com/articles/595/595110p1.html
http://news.bbc.co.uk/2/hi/technology/4392964.stm
https://web.archive.org/web/20071107020022/http://www.japannewsreview.com/entertainment/games/20070719page_id=830
https://www.youtube.com/watch?v=LbSDdQ08bfs
https://www.siliconera.com/noby-noby-boys-girl-has-reached-the-sun/
https://web.archive.org/web/20091120080532/http://www.thisisnottingham.co.uk/news/Video-games-guru-design-city-playground/article-1458337-detail/article.html
https://www.youtube.com/watch?v=8edgc92Rick&list=PLlxZek2EIxknMpJmznLMZTMbK2E3Hb524&index=4
https://beardfolio.wordpress.com/2012/09/05/staying-playful-with-keita-takahashi/
https://arstechnica.com/gaming/2011/11/glitch-the-battle-to-build-a-massive-multiplayer-game-without-combat/
https://twitter.com/tinyspeck/status/505049094658600961
https://www.cnet.com/news/glitch-launches-cnet-offers-an-instant-entry-pass/
https://www.theverge.com/2016/11/1/13486616/woorld-ar-game-keita-takahashi-katamari
https://kotaku.com/why-katamari-damacys-creator-left-japan-1835644700
https://www.usgamer.net/articles/keita-takahashi-wattam-video-games-feature-interview-pax-west
https://www.theverge.com/2019/12/17/21025916/keita-takahashi-interview-wattam-katamari
https://www.siliconera.com/katamari-damacy-developer-turns-art-exhibit-rpg/
https://www.wired.com/story/robin-hunicke-vr-game-luna/
https://youtu.be/YTWimn0VgnM
http://www.funomena.com/
https://www.artsy.net/article/artsy-editorial-claes-oldenburgs-supersized-pop-sculptures-made-public-art-fun
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Carl Reiner's Daughter Tweets Final Dig At Donald Trump On Her Late Father's Behalf
Annie Reiner, the daughter of the late comedy legend Carl Reiner, tweeted criticism of President Donald Trump on her late father's behalf on Friday.
"I will say one last thing for him," the playwright, poet and author wrote on her dad's account. "I know he would be disappointed not to have lived to see Trump's eviction from the White House, to make America safe again for honor and truth. Please VOTE!"
As you may know, Carl passed away on Monday, June 29th at the good old age of 98. We wanted to write a final tweet for him to let you know how much he appreciated your responses and support…
— carl reiner (@carlreiner) July 3, 2020
… I will say one last thing for him. I know he would be disappointed not to have lived to see Trump's eviction from the White House, to make America safe again for honor and truth. Please VOTE! Annie Reiner
Carl Reiner, who died at the age of 98 on Monday, frequently took Trump to task on the platform.
Just hours before he died, the "Dick Van Dyke Show" creator lamented the result of the 2016 election, describing the president as "a bankrupted and corrupt businessman."
As I arose at 7:30 this morning, I was saddened to relive the day that led up to the election of a bankrupted and corrupt businessman who had no qualifications to be the leader of any country in the civilized world…
— carl reiner (@carlreiner) June 29, 2020
… At the same time, Hillary Clinton, who had all the needed
qualifications to lead our beloved nation, had received 3 million more popular votes than our Russian-installed puppet president.
In 2018, Reiner even said he hoped to live until November 2020 "so I can vote for whoever runs against our fake President Trump."
At 96 and 6 months I have an incentive to hang around untill I'm 98 so I can vote for whoever runs against our fake President Trump
— carl reiner (@carlreiner) October 17, 2018
Annie Reiner on Friday also shared this photograph, taken of her father just two days before he died, wearing a top bearing the Black Lives Matter logo.
"As you can see he was happy and vital up to the very end. He will be sorely missed," she wrote:
Carl had wanted to tweet this picture, taken last Saturday. As you can see he was happy and vital up to the very end. He will be sorely missed. pic.twitter.com/Q4sh0QK4Xz
The actor had intended to tweet the image, his daughter revealed.
She later suggested people donate to the BLM movement in his memory:
People have asked about an organization to make a donation in his name. Here is a link to donate to Black Lives Matter: https://t.co/dwx2IK782x
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Czech translation of Prague, Capital of the Twentieth Century: reviews in Czech press
By dereksayer on July 17, 2021 January 5, 2023
Very pleased to see that I am getting some excellent reviews in the Czech press for the Czech edition of Prague, Capital of the Twentieth Century, which was published earlier this year in Prague by Volvox Globator. Extracts below.
Czech readers are at last getting a translation of the best known book by the internationally acclaimed and award-winning Bohemist, which is an adventurous tour through twentieth-century Prague in all its surreal corners, that lurk at literally every step.
Prague – "a city located at a crossroads of imagined futures that seemed boundless and imagined pasts that eternally threatened to return." Just because of this it became an inspirational metropolis for a movement so sensitively reactive to the social changes of its time. Now, surrealist Prague is presented in a spectacular monograph, which in more than 500 pages shows the important role of this uncanny city in its interwoven connections, without which surrealism would not have achieved its celebrated forms. And what is still more remarkable – it is not a Czech but a Canadian-British Bohemist who narrates this adventure …
In his spellbinding account of the turbulent art of Prague and the lives of its creators, Sayer does not forget the finest details … (Elizaveta Getta, "Město surrealistických snů," iLiterature.cz, 1 August 2021)
I dare not estimate the total number of pragensia, i.e. books dedicated to Prague, that have so far been published. Two of them, however, are absolutely fundamental works and rightly recognised throughout the world. These are Magic Prague by the Italian bohemist Angelo Ripellino and Prague in Black and Gold by the now ninety-eight-year-old Prague native and Yale University professor emeritus Peter Demetz. These two admirers of Prague were joined eight years ago by a generation and a half younger Canadian-British bohemist Derek Sayer, with his extraordinary cultural-historical monograph Prague, Capital of the Twentieth Century, subtitled A Surrealist History …
I consider Derek Sayer's book Prague, Capital of the Twentieth Century, with the significant subtitle A Surrealist History, to be an excellent guide to the history that we assume we know. This Canadian has managed to make it special precisely by looking from elsewhere and putting into context what, seen from up close, appears like some impressionist paintings – illegible spots of colour. (Zdenko Pavelka, Meziřádky Zdenko Pavelky, Magazín OKO, 25 May 2021.)
According to the author, the modern history of Prague is "an illustrative lesson in black humor." Where else can one get a better sense of irony and absurdity, a lasting mistrust of the sense of grand theories and of totalitarian ideologies, and a Rabelaisian delight in how all social and intellectual claims to rationality are indiscriminately subverted by the erotic? But above all, Sayer repeatedly emphasizes that we should understand "modernism" as Vítězslav Nezval prefigured it in his collection Woman in the Plural, namely as something diverse and plural. According to Sayer, it is time to acknowledge that abstract art and the gas chamber are equally authentic expressions of the modern spirit …
The author's picture of Prague and those times … is dominated by left avantgarde artists … about whose occasional inclination toward the Stalinist Soviet Union the author writes overly generously … Despite this slight bias and minor errors, we can agree with Lenka Bydžovská, who wrote enthusiastically about the original book that Sayer amazes the reader with his "encyclopedic knowledge, his reliable orientation in specialist literature, memoirs and correspondence, in literature and art, but above all with his inventiveness, his ability to illuminate seemingly familiar events, stories and works from a different angle." (Jan Lukavec, "Surrealistická setkávání v modernistické metropoli" [Surrealist encounters in a modernist metropolis], Deník N, 3 June 2021.)
A substantial book on art has been published – and yet it doesn't weigh 5 kg! It is, however, weighty in its genuine passion, content and reach. The main theme is the interwar cultural scene in Prague, with an emphasis on the local surrealist circle, which has gained an international reputation. The book is about this phenomenon, but it is is also full of enjambments, digressions and wider contexts. It is a great read – and yet it is based on a truthful, factual and clearly accurate text. Here we have writing that is extremely learned, informed as well as naturally flowing. It is strange that no one has written a book like this before. Only now has a foreigner taken it up. And that is very good …
Sayer's book is a great achievement. It is a source of information, education and entertainment. A volume that brings Czech history to life, a text that penetrates its numerous hidden corners, a collection of (un)known stories of which we can generally be proud, for they prove the valuable place of our cultural activities and art in the first half of the 20th century. We belonged to the avant-garde, and Derek Sayer knows how to write about it. (Radan Wagner, "Vynikající kniha nejen o Praze a českém surrealismu" [An exceptional book not only on Prague and Czech Surrealism], ArtReview, 12 June 2001.)
A slightly incorrect and provocative guide to the cultural history of Prague, not only of the last century. It reminds Western readers how significant a role Prague played in the world's modern culture. For those here, it can help them to perceive in a new, unhackneyed and lively way many of Prague's realities that we too often take to be self-evident. For Prague flaneurs. (PLAV, iLiteratura.cz, 19 June 2021, where it is among six non-fiction books listed in the site's traditional annual recommendations for summer reading.)
Eight years after the original, a Czech translation of a monumental guide to Czech modern culture has come out, whose author is Derek Sayer … The author's aim is not only to rehabilitate Czech surrealism before the global public, but to present Prague as the city of "another" modernity: "This is not 'modern society' as generations of western social theorists have habituated us to think of it, but a Kafkan world in which the exhibition may turn into a show trial, the interior mutate into a prison cell, the arcade become a shooting gallery, and the idling flaneur reveal himself to be a secret policeman …"
For him Prague is also the capital city of the twentieth century because "this is a place in which modernist dreams have again and again unraveled; a location in which the masks have sooner or later always come off to reveal the grand narratives of progress for the childish fairy tales they are." And also a place where "the past is not easy to escape … even when, and perhaps especially when, you are making new worlds." (Petr Zídek,"Kniha o českém surrealismu aneb monografie světové Prahy" [A book on Czech surrealism or a monograph of global Prague], Právo, 1 July 2021.)
None of these reviewers are without their criticisms, and I am grateful where they have pointed out occasional factual mistakes in the text. There are of course errors, mostly minor, in the book (and as Petr Zídek noted in his review, some more were added in the Czech edition that were not picked up by the Volvox Globator editors). Zdenko Pavelka also (justly) alerts readers that:
"Sayer's knowledge of realities and his ability to connect them in time and space are exceptional. I have to warn, however, that sometimes maybe also with a certain exaggeration or, let us say, poetic license. Perhaps you know that the Kinský Palace on the Old Town Square was the seat of the State German Gymnasium at the end of the 19th century, which Franz Kafka attended as a student. Sayer mentions that just outside the windows of his classroom is the balcony from which Gottwald spoke on 21 February 1948. I'm not sure whether in this case Sayer is not slightly embellishing reality in the Hrabalian manner, because the rooms at the disposal of the gymnasium were supposed to be in the rear of the palace. But even if Kafka did not sit in that balcony room, the well-known story of how in a later retouched photograph of the balcony scene, only the cap of Gottwald's faithful comrade Vladimir Clementis remains, of course on Gottwald's head, is certainly close to Kafka, but also to the surrealists."
Precisely. In this case the error was inadvertent, but call it hasard objectif. The Kinský Palace remains an excellent example of Prague's surrealities. As to the comparison with Bohumil Hrabal, I take it as a compliment.