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Movie Salon and Discourse Parlor
Exploring the ongoing shift in our cultural narrative illustrated through film
DISCOURSE PARLORS
NARRATIVE OTHERWAYS
INDEX BY TITLE & FILM
The Sum It Up Parlor on the Narrative Otherways
When I wrote this weblog from mid-2010 through 2012 it was my first expressive foray into the cyber sphere. It was written as my main contribution while being a Board member of Women In Film Seattle. I owe a debt to that group of women. Their willingness to give the weblog a home within the organization legitimized it, gave me a reason to go public in my explorations as a writer. A gift.
A parting thought. Perhaps it's obvious to you from a quick glance at these screenpages but unless you've a want to settle in and slow down, which I myself struggle to do when engaged with this rapidly mutating digital medium, you may think twice, or less, about entering here. The filmstories taken under wing in these writings are, to my mind, engaged in a practice of evolving meaning. Such evolution is mostly glacial, having an effect as drops of water into a sea on the amorphous "OverNarrative" that is continually beating the drums all around us and through which we try to define ourselves and derive our reason for being.
THE LAST DISCOURSE
In which I explain what I mean by this term the "narrative otherways."
In truth what follows here in our final Parlor belongs at the beginning. It takes a bit of getting used to, the directional momentum of this weblog form that forces what is written first to the end of a potentially endless "page" and out of sight. In the oldworld of print (my youth) what I write now would have been first to be read, before all the rest.
This is a long way around saying the first pieces I wrote for this Salon&Parlor, the underpinnings of the theory constructed here, have long since drifted to the bottom. This is because the original and still primary reason for our digital push is technological innovation. The highest value yet being placed on the very latest, the most new and shiny surface. So when it comes to writing, that practice which predates the digital, the once dependable linear development of a body of thought is tossed and turned.
I in no way feel this as all loss. The writing here reflects my learning the curve of the digital steep. It has allowed me to build my thinking through time, piece by piece with all the side bars and discussions and suggestions of filmstories in between so that the ideas here have been field tested in a sort of practice as you preach method. Instead of that once familiar steady progression of thought page after page the act of writing this weblog became to my mind, especially in the public, egalitarian crowd nature of it, more spherical, akin to those animated models of viruses – the ones with the prongs all round like deep water mines.
Oh dear. Now I've fallen quite off the spine. So to get back on track we will begin…er…end…er…begin the ending!
It must be said that I, a mere pamphleteer, an eager humanist, write with nothing to lose. I am by choice a provincial – ever attentive to the deep of the cultural stream – but a provincial nonetheless. A woman at late middle age, I realize now that as a writer I have sought neglect. However that may influence my perspective, I first want to directly address:
What the word "narrative" means to me. Continue reading →
Discourse Parlor
A Narrative Otherways
THE FAREWELL SALON: ON GIVING PERMISSION, AND WHAT GETTING IT GIVES US.
Which is another way of saying, who and what grants authority to speak?
On a number of occasions I have been asked, "Who are you to speak?" It is true that I have brought my intellectual life into being, by and large, outside of legitimizing institutions. However, mine has not been an entirely lonesome travel. Look how I find myself here, among you in this Salon, thinking out loud on this theory of an emergent Narrative Otherways.
It is my intention to devote our upcoming and final Discourse Parlor to fleshing out the characteristics of what I mean by a Narrative Otherways. But for now, in this Farewell Salon, I would like to remember the beginning.
When I pitched the idea of producing this weblog to the Board of Women In Film Seattle it was, truth be told, an amorphous jumble of ideas pinned to a list of movies that had caught my focus. It would be, I said, a discussion of a few films from a theoretical perspective. It would be an examination of narrative, in particular as it pivots on gender.
I don't entirely understand by what alchemy of group dynamics those women came to give me the nod to go ahead. But in that nod I was given a reason to develop my thoughts into a body of writing that became this Salon&Palor. Their affirmation provided a shelter granting me the authority to speak. In short, they gave me permission.
As a consequence of tracking the feelings and thoughts that emerged from watching the filmstories analyzed here, some substance of self not in me before came into being. Understandings have come from my practice of reading meaning from and into these filmaker protrayals of our world. These understandings now affect how I now perceive my own passage here. Although I make no grand claims for how my readings may translate into the hearts of others, I know without the original permission from WIF my thoughts may have remained a disorganized bundle of notes transferred from computer to computer until, forgotten, they were tossed on a recycled hard drive into oblivion. And the corresponding territory of self grown within? To remain unformed and stillborn.
Beyond my particular tale of becoming there are big picture manifestations of the permission dynamic. Any tributary of interpretation, of giving name to our reflections in the exploration that story can be, brings to light facets of meaning yet forming, allows a turning over of that shiny, molten surface in our hands. These tributaries contribute drip by drip to the rushing cacophony of expression we all share and want to show one another. "Here, look. See." Because once in the flow we women, we others stand a chance to weigh in on how our perception and portrayal of being, our reason & meaning (for which we have an inexhaustible thirst) might alter, thicken, become more complex.
So, thank you to the women of the WIF Seattle Board for providing a nexus between idea and becoming. And for having enough faith in the direction I was pointing my head to say, "Go!"
Giving and getting permission, it matters.
Meanwhile, for those of you hanging in there to watch more movies.
Here's a late, welcome addition to our Salon. A film all about giving and receiving permission.
Queen to Play 2009, 2011 USA release. Director Caroline Bottaro, written by Bottaro from a novel by Bertina Henrichs. With Sandrine Bonnaire and Kevin Kline.
Monthly Salon Suggestions
Discourse Parlor: The spiritual questing of Corinne- the dangerous thinking daughter of Higher Ground
Annie note: I apologize to anyone who may have noticed for the amount of time it has taken to post this Discourse Parlor on faith. Too many days have passed since my promise of it in the last Salon. This is unacceptable, even from the most permissive, indulgent perspective. You can be sure that the angry taskmaster inside my own head has been merciless!
All I can offer in defense is that I was sidetracked by another bit of writing. I've been trying to flesh out this idea of an emergent Narrative Otherways. It's a mystery why that bit pushed itself to the front of the writing queue except that it began to feel necessary to be understood, as much as possible, on a concept that's been so central to this Salon&Parlor project. And, I suppose, because narrative is entangled with faith in my conception of things. The upside of this cart before the horse process is that next Parlor, intended to be the last and final post from these parts, should be coming your way in a much more timely fashion.
And now to the topic at hand –
Corinne, the dangerous thinking daughter of Higher Ground.
At the end of her movie Corinne Walker exits her church, never to return. She is casting herself out. For those who remain sitting in the pews, Corinne is making a choice of the street, the wilderness realm of dogs, over safety and righteousness. Literally, from the way of perceiving constructed inside that church, Corinne is turning her back on an afterlife of heaven for the eternal burn of hell. But we know, from watching her story of questing for answers to the why of her being, Corinne is choosing to live in this life, in the here and now.
On the surface Higher Ground is a fable-like tale of down to earth people with everyday concerns. It would seem very ordinary if Jesus and Satan didn't keep popping into every conversation. But deities of all sorts are active participants in Corinne's community of believers. At the drop of a hat a bible's thrown open, sending conversational language into the stilted text of millennium old desert tales of good and evil: angry fathers sacrifice their sons; a woman picks fruit from a tree (of knowledge) casting mankind out of paradise. How hard this contemporary community works to synthesize such a stretch. It's a testament to the adaptable human psyche, acting out our desire to convince ourselves things happen for a reason and all powered by our need to make order from the chaos.
Which is why Corinne's eyes-wide-open questing around in this mundane wanting to be extraordinary world is the perfect foil for the explorations of a spirited woman caught in a rigid, top down system of who's-allowed-to-speak. Women's place is fixed in this ordering (surprise surprise) in the mute, lower regions. And the whole towering structure is sustained by a flock refusing to apply empirical knowledge to their constructed perception of the world. To question equals danger to these systems of belief. To think is to threaten.
The closing of Corinne's story with her walk out opens the question – if this woman can no longer believe what is practiced as faith inside that church, then what else might faith be? Corinne, in her refusal to accept voiceless-ness represents those of us out here, we thinking daughters who have chosen the street, with the dogs; we who are unable to submit to the roles assigned us; we who dare to mull reasons for being based on our experience of this life in the here and now. Continue reading →
Our Movie Salon of the (perpetual) Spiritual Quest
Or, could some bit of Faith be learning to live with ambivalence?
I admit it. It is utterly near impossible to see any way through the faith debate these days. Let alone keep faith – as in that Sixties phrase, a recognition of shared spirit, "keep the faith, man."
So of course, in the face of this utter near impossibility, I've decided to try to do a little thinking on faith. This by way of tying up loose ends before shuttering our Salon&Parlor. I can't say goodbye without mulling some on our reason for being. As presumptuous as this must appear, as unable as I am to answer the accusation, "who are you to speak?" I try to compensate for my lack of authority by staying small, limiting my horizons to what's right in front of me, my fading flashlight shines dimly…
There've been a spate of film stories circling the topic of faith, lately. Small bites, around the edges. Perhaps that's the best way to approach such a fortress. By telling little stories that seem to end up asking more questions. Such as – do we have any ability, can we grow capacity for living with ambivalence? Odd that watery word ambivalence comes to mind in connection with faith, up till now framed as such a solid. Always linked with authority. The Word (right after the Light.) The Father telling us how to live. What to be. What to do, or not do, with our bodies.
By way of mulling all this I did a good bit of watching films. Some of these have been added to our Family Tree of Stories:
Meek's Cutoff, Kelly Reichardt's difficult, thirsty allegory of desert wandering and how to know who to follow through our arid patches. How do we go about choosing our guides? How does a man come to seem worth following?
Incendies, A blow by blow account of the generational damage done by warring religious sects rooted at core in, surprise surprise, controlling the reproductive power/capacity of the body of woman.
Of Gods and Men, A tender and lyrical laying out of the workings of traditional faith in men who have given their lives over to the practice of it; a small family of monks in a mountain monastery who are confronted with, Christ like, having to follow through on the consequences of their faith playing out in the "real" world of hate and violence.
The End of the Affair, Neil Jordan's beautifully composed rant on the Judaic/Christian take on faith all confused and bottled up in a passionate, adulterous love affair. Very Graham Greene and mid 20th Century, which is to say, very tormented male narrative. But oh, what exposition on the opacity of faith as squeezed through finely drawn characters aplenty.
As for our next Discourse Parlor
I'll be focusing on a modest, little movie, Vera Farmiga's Higher Ground, 2011. This story is a straightforward meditation on a woman's spiritual search. A woman who would give herself, her life and family to a church in an old fashioned idea of that giving, a dip em in the river being reborn sort, if only she wasn't plagued by so many questions. Ms. Farmiga's Corinne is a seeker who finds she is also a woman who can not submit.
I was perhaps stimulated some in my choice of this movie by the good bit of rumbling that's come to surface in this Salon expressing a lingering desire for a Heroine's journey to correspond to that old Campbellian conception. It seems to me the character of Corinne combines two characteristics, questing and a refusal to submit. And when these qualities are entwined in a woman they can cause a good deal of spin and wander. A journey, perhaps, from here to some other there. And so that's what we'll explore in the next Discourse.
A little more thinking on Faith and Questing: Continue reading →
Paternity Parlor part two – Fathers and Sons and Violence.
How a man refuses violence to protect his son in Susanne Bier's In a Better World
How does a father raise a son to grow within our tangled conception of manhood? What part of how to be a man has altogether to do with violence? The use of it. Being familiar with its force and workings? Linknote
The story of Anton, the father in Susanne Bier's In a Better World, begins in Africa; a land where acts of homicide and mutilation by rogue bullymen are given reason by our insatiable desire for the raw materials and sparkling stones still to be found there. Everyone's culpable in this endless play of centrifugal nihilism. Beast us. Mostly I let myself tune out those stories because, well, I must keep my hope.
But Bier does not tune out. Nor does she leave us to wallow but riffs off the bold outline of an African manifestation tracing the bully pattern from its stark exposition there to dig at its more disguised and familiar roots in the resource consuming landscape of Denmark. Here, with two fathers who must engage with an evil that threatens to incarnate in their own young sons, Bier goes at the heart of troubling questions about our bully selves: how to exhume and release the ancient hold of violence on us? How to counter the monster bullies that are groomed and given life by violence without giving birth to that malignancy in ourselves? More fundamentally, if our emotional mechanisms default to the use of force, especially when we are wounded, in doubt or under stress, could these be reframed as only one of many innate propensities in us to be given encouragement, or not, by our structures, familial and institutional? Continue reading →
Parlor Discourse on Retooling fatherhood. Or how to crawl out of that sink hole.
Paternity Parlor part one. The Lovely Bones.
Let's narrow down Dean's question from our last Parlor, "What is it to be a man?" and just take a look at dad. Since back before we daughters can remember a father's role has revolved in great part round being the one who protects those too young, too weak to protect themselves, and most ferociously, his blood.
Yes, evil's out there, and in here, in all its spectacular and mundane forms. A darkness that destroys, ever shapeshifting and clever. A darkness much entangled with our will to life, evolving right along side everything else, feeding off the energy of love like sugar while the revenge response, always to do with violence, spreads evil's infection in a sort of contact contagion, working more to cauterize life's flow than protect it.
Both The Lovely Bones and In a Better World are tales of darkness and its violence – one of a daughter lost to it, one of a son in danger of being lost. Both have in them fathers struggling to forge narrow passage away from their paternal role as the omnipotent protector and when failing (as inevitably all fathers do, if only with their own deaths) both resist the default pull of paternal revenge and retribution, that old eye for an eye which isn't, being in fact an escalation.
Instead, the fathers in these stories open their wounded hearts to become seekers of a re-balance, however transitory, however built on that rushing air carried atop rivers, in the hope of allowing for their families' re-emergent, tentative lean toward life. Tricky, this. This re-positioning of fathers to face forward somehow, to find with their surviving loved ones a way not retribution, not "closure" either, rather an away from the ravages of the protector's revenge, that scorched earth where nothing grows, that infectious, viral realm of Monsters, those beings of violence given over to the spreading darkness. Continue reading →
Movie Salon – Paternity's Burden of Perpetual Protection
This Movie Salon's suggestion of films to watch for the upcoming Discourse Parlor:
In a Better World, 2010. Directed by Susanne Bier. Written by Anders Thomas Jensen.
The Lovely Bones, 2009. Directed by Peter Jackson. Written by Fran Walsh and Philippa Boyens.
In this edition of the Salon we focus on two films which are, from the point of view of your Lookout, explorations in this emergent story-ness we've come to term the Narrative Otherways. Both tales will be mulled over in the forthcoming Parlor as indicators of the narrative shift away from our antediluvian conception of paternity to point in directions of other, more responsive embodiments of what being a father, these days, entails.
Both are of a father's anguished figuring on how to respond to the infliction of pain, loss, and injustice upon his family, striking in that way of misfortune with dawning dread, seemingly random and from out of nowhere. In a Better World traces a doctor's walk in the shadow of evil from the windswept tents and oozing sores of an African incarnation of it in a terrorizing "Big Man" to Denmark's land of summer houses and detailed educational plans. Here the father must engage with a more internalized evil that threatens to incarnate in his own young son. In The Lovely Bones a father loses his daughter to a serial murderer of young women, a monstrous evil beyond comprehension. How is a father to absorb, counteract, fight to get back what's lost by the happenstance of being in the path of evil? Is it possible?
Both tales are representative of a bundle of activity now taking place around the disintegrating morphology of the male narrative. They turn over, touch and feel the texture of our ancestral response to evil which has had almost always to do with violence, to match it or more, and often, after the damage done, with revenge. As if a man could extract some sort of evening out to evil's crippling, as if an eye for an eye leveled it all, rather than bred more of it. Exponentially. And how to trace back this lethal mix of violence and revenge through its tap-root in the definition of fatherhood as he who protects?
Which is also to ask, if a father fails at protecting, then are revenge and retribution his duty to take? And once taken, it that then justice?
A related rumination on paternity (or its rejection) can be found by watching Somewhere, 2010. Written and directed by Sofia Coppola. This panorama of nihilistic realism is set in Coppola's own backyard of Hollywood celebrity. And it's not a pretty picture. Which is why I decided to give it a home on The End of the Male Narrative branch of our Family Tree of Stories. (Thanks to netizen Theresa Majeres for bringing it back to our attention.)
ALSO NEW IN THIS EDITION OF THE SALON:
NEW to Periodic Links:
Everything is a Remix. A webvideo series. Where Kirby Ferguson makes his case that "creativity" entails remixing and building on all and everything that has come before.
Embrace your inner girl. A 19:55 minute rant of inspiration by Eve Ensler speaking bluntly of the power of girls and transformation, of "protecting the girl cells within us all."
And over in our always growing Tree of Stories:
NEW to the branch of Reasons to Keep the Faith:
The Other Woman- Love and Other Impossible Pursuits. Tackles the back end of the story of the sexy, intelligent woman who does get the married man away from his family and for herself. And what happens next.
Days and Clouds. How we define ourselves through the work we do. How the loss of a husband's working life shakes a marriage with denial, assumptions, cars breaking down, etc. And how a marriage can transform and survive because both parties in it help each other to grow in response to inevitable change.
Supported by WIF Seattle
Wecome. I am Annie Grosshans, your host here. This weblog consists of alternating posts: first a Movie Salon of suggestions of films to watch, followed by a Discourse Parlor of writing triggered by ideas in those films.
In the Pages below you'll find more movies and some theory that might inform your reading here.
I write with nothing to lose
FAMILY TREE OF STORIES
End of the Male Narrative
Morphologies of the Male Narrative
Reasons to Keep the Faith
A Female Hero's Journey?
What about Thelma and Louise?
Our Miraculous Gift
Because to be born female is…
PAST PARLORS DONE AND GONE
I Am Love
On the serial murder of women
The Private Lives of Pippa Lee
Winter's Bone
PERIODIC LINKS
Movie Salon and Discourse Parlor by Annie Grosshans is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.


Most important is to move properly for your breed. Don't follow the crowd.
To refresh on the basics of moving your dog in the ring, listen to Episode 3 on PureDogTalk.
In episode 3, we covered 1, 2, 3, go..... and how to line up your dog with the judge. The judge wants to see your dog's rear, not yours.
To improve movement, you need to see what you can't from the end of your leash.
Have someone else move your dog so you can watch.
Have someone videotape you moving your dog to evaluate how you are both together.
How your dog is moving is one factor. How the two of you move together, is another story.
If your dog is crabbing or sidewinding, try slowing down or re-positioning the collar higher on the neck.
If the front is flailing and flopping, you may have too tight of a leash or holding the dog's head to high - lower your hand and let the dogs head down.
Reach and Drive is not correct in every breed standard. While an Afghan floating around the ring is gorgeous to watch, it's difficult to achieve with a Bulldog.
Again, video tape is your friend.
Laura covers different collars and leashes in this episode. Sometimes a metal chain bothers a dog with sensitive hearing, and a simple switch to a soft choke solves the problem.
Experiment with options to see how your dog performs.
Way cool podcast!!! Good and well presented information to the show going public!!
? Why does a metal slip collar derive more control (or power steering) than a nylon or cotton slip collar that is fitted correctly?
! Possible subject – why different collars work in different ways for control in the conformation presentation.


ANDERSEN AIR FORCE BASE, Guam — Andersen Elementary School 4th grade student Gracie Giles attended the fourth annual Healthy Lunchtime Challenge and Kids' State Dinner in Washington D.C. July 10 for her "Y'obama Yakisoba" recipe – one of 55 selected from more than 1,500 contestants.
Giles was elated when she first learned she was among 55 students going to the White House, "[I] couldn't believe it! I jumped up and down and was screaming in excitement."
The 9-year-old's selected dish represents her Japanese heritage, love for noodles and her father, Navy Cmdr. Tony Giles.
Each contestant was required to include the title of an original recipe for one healthy lunchtime meal incorporating the United States Department of Agriculture nutrition guidance supporting "MyPlate" at ChooseMyPlate.gov, particularly filling half the plate or recipe with fruits and vegetables. A brief essay had to provide some details about their recipe including how all or most of the major food groups would be served with their dish.
Giles said she was able to see and do a lot of things at the White House like seeing original artwork, touring the Garden, and listening to the live music from the military jazz band.
The entire 2015 Kids' State Dinner can be viewed on YouTube at http://bit.ly/1QlmQdG.


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Business case for Portsmouth's Tour de France bid goes missing after admin error
Document thankfully rediscovered after DCMS officials had a "deeper look"
Portsmouth's Spinnaker Tower. Photo: Flickr/David Blaikie
By Henry Robertshaw
published 8 November 2016
After British Cycling dismissed Portsmouth's bid to host the Grand Départ of the 2019 Tour de France as "impossible and illogical", Monday brought more bad news for the bid's leaders after it was revealed that the document containing the business case for the bid had gone missing at the Department for Culture, Media, and Sport (DCMS).
According to The News (opens in new tab), the dossier, which had been compiled by civic leaders, was given to local MP Flick Drummond in September who was expected to present it to the government department in the hope that it would provide money to help support the bid. However, on Monday the department said it had not received the document.
>>> What are the chances of Portsmouth hosting the 2019 Tour de France Grand Départ?
Thankfully for Portsmouth City Council, officials at the DCMS then had a "deeper look" in which the document was uncovered.
"There was an administrative error and we can confirm that we have received the bid document", a spokesman for the department said. 'Portsmouth is a city with a strong passion for sport and we will consider the detail in the bid document."
"We have great experience in putting on major sporting events in the UK and are happy to provide assistance where we can to prospective bids."
>>> Culture secretary gives support for Portsmouth's Tour de France bid
Portsmouth is currently the only city confirmed as bidding to host the start of the 2019 Tour de France, although there are other as yet unconfirmed cities interested in the race, with Florence being strongly linked with a bid after losing out to Yorkshire in 2014.
Henry Robertshaw
Henry Robertshaw began his time at Cycling Weekly working with the tech team, writing reviews, buying guides and appearing in videos advising on how to dress for the seasons. He later moved over to the news team, where his work focused on the professional peloton as well as legislation and provision for cycling. He's since moved his career in a new direction, with a role at the Department for Environment, Food and Rural Affairs.
17-year-old CX rider 'catapulted' into layby by tractor scores top ten finish at national champs
Raph Tabiner from Warrington nearly gave up racing all together after shocking incident
By Tom Thewlis • Published 21 January 23
Bastion unveils limited-edition ArchAngel road bike: 'the most highly specified production bike ever released'
The Australian brand's ArchAngel road bike is limited to 88 pieces and uses 3D-printed lugs
By Luke Friend • Published 21 January 23

redpajama_set_name: RedPajamaCommonCrawl


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This article is more than 10 years old
Cannes film festival bans Lars von Trier
Melancholia director banned from French festival for Nazi comments but film apparently remains in running for top prize
Catherine Shoard in Cannes
@catherineshoard
Lars von Trier claims to 'understand Hitler' at Cannes press conference, and Xan Brooks reviews his latest film, Melancholia guardian.co.uk
Cannes film festival organisers have banned Lars von Trier from their event after he caused a furore by joking about being a Nazi at a press conference to promote his new film, Melancholia.
The Cannes board of directors declared the Danish director, formerly a festival favourite as much for his outspoken persona as his taboo-breaking films, "persona non grata, with effect immediately" following a bizarre performance in front of the media on Wednesday when he declared he had sympathy for Adolf Hitler.
"Cannes provides artists with an exceptional forum to present their works and defend freedom of expression and creation," the board said in a statement. "We profoundly regret[s] that this forum has been used by Lars von Trier to express comments that are unacceptable, intolerable, and contrary to the ideals of humanity and generosity that preside over the very existence of the festival."
Von Trier's offending words came in response to a question about his German roots. Seemingly joking, Von Trier announced himself to be a Nazi, after expressing sadness that he hadn't been born Jewish. As the atmosphere became increasingly tense, and Melancholia stars such as Kirsten Dunst sought to staunch his flow, Von Trier continued: "What can I say? I understand Hitler. He did some wrong things, absolutely, but I can see him sitting there in his bunker at the end ... I sympathise with him, yes, a little bit."
The festival organisers subsequently issued a statement saying they had asked the director for an explanation. This followed an hour later, when Von Trier said: "If I have hurt someone this morning by the words I said at the press conference, I sincerely apologise. I am not antisemitic or racially prejudiced in any way, nor am I a Nazi." But his contrition does not appear to have been sufficient for the board, headed by president Gilles Jacob, to whom the matter was referred.
The ban appears to be a personal one: Melancholia is still in contention for all awards, including the festival's most prestigious, the Palme d'Or, which Von Trier won in 2000 with his film Dancer in the Dark. But should Von Trier triumph, he will not be welcome at Sunday's ceremony to pick it up. All press engagements to promote Melancholia have been cancelled, and it remains uncertain whether the cast and crew would boycott the rest of the festival in protest.
Extended version of Lars von Trier's Nazi ramble guardian.co.uk
The Guardian's film critic, Peter Bradshaw, a prize juror on this year's Un Certain Regard sidebar, applauded the decision to blame the director himself "rather than his blameless and dull film … that way there is no suggestion of censorship", and urged Von Trier to make "a real apology, and not the smirking tongue-in-cheek one that made things subtly worse".
The nature of Von Trier's reaction to the ban was unclear. Thierry Fremaux, the festival director, said Von Trier told festival officials that he "accepts the punishment". "He's upset by this matter," Fremaux said. "He recognised that the festival had to take a firm position in regards to his comments."
But the Danish tabloid Ekstra Bladet quoted Von Trier as saying: "I'm proud to have been declared persona non grata. This is maybe the first time in film history that has happened.
"I think one of the reasons is that the French themselves treated the Jews badly during the second world war. Therefore it is a touchy subject for them. I highly respect the Cannes festival, but I also understand that they are very angry with me right now. I'm no Mel Gibson, but once again I would like to say sorry everybody."
Despite near-universal condemnation for Von Trier's outburst at the time, the board's decision has met with widespread bafflement in Cannes. Lee Marshall, critic for trade paper Screen International, expressed sceptisicm about the timing of the ban. "Von Trier's initial apology should have been enough. That it wasn't suggests to me that this was political." Time Out's film editor, Dave Calhoun, admitted to feeling as uncomfortable about the festival's actions as Von Trier's ill-advised words. "Cannes is an open cultural forum and most people I speak to at the festival agree that his comments were hugely open to interpretation and not coherent enough to form any kind of proper argument or clear opinion. The festival has played judge and jury when it would have been wiser to allow the public, the press and anyone else to decide for themselves."
With delegates from the world's media congregated and eager for controversy, it looks increasingly unlikely the board's ban will have quite the intended effect. Guy Lodge, from awards site In Contention, suggests it may even give Von Trier career a useful boost, especially following lukewarm reviews for Melancholia itself. "This just amounts to fighting stupidity with stupidity - not to mention a little hypocrisy, when Mel Gibson was given the red-carpet treatment only a few days ago. Von Trier will be fine: I'm sure the ever more competitive Venice film festival will be happy to house his future works. If anything, this just proves his remarkable ability to remain the centre of attention."


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redpajama_set_name: RedPajamaGithub


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Q: Git Merge a branch to master on GitLab I've got a basic question here.
I have a branch called: foo
I have created a merge request for "foo".
GitLab says there are merge conflicts with master so I can't auto merge. This is because there's a file called foo.txt that has the same line changed in the master and branch (foo).
What are my options available here? One option is:
git fetch origin
git checkout origin/master
git merge --no-ff foo
git push origin master

But I wouldn't want the developers to have a direct push access to the master.
How can I make my branch in a merge ready condition so that I can use GitLab's "Auto Merge" option?
Can I know the recommended workflow here?

A: You can resolve the conflicts on branch foo:
git checkout foo
git merge master
# resolve conflicts
git merge --continue

Now you have the state intended for master on branch foo. You can merge onto master without any conflicts:
git checkout master
git merge --no-ff foo

A:
I resolved the conflict by rebasing my branch onto master.

You need to make sure master is the latest of upstream/master, not origin/master.
Make sure git remote -v does show upstream with the URL of the original repo (and not your fork). If not, add one: git remote add upstream https://url/original/repo
If you haven't done any commit on master itself:
git fetch upstream
git checkout master
git reset --hard upstream/master

git checkout yourBranch
git rebase master
git push --force

redpajama_set_name: RedPajamaStackExchange


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A video of Catherine Zeta-Jones dancing to David Bowie is sending the internet wild
Catherine Zeta-Jones shows off her perfect abs while dancing to David Bowie's Let's Dance on a photoshoot
(Image credit: Photo by Rich Fury/Getty Images)
By Anna Rahmanan published 8 December 21
Talk about goals—actress Catherine Zeta-Jones just posted a behind-the-scenes video on Instagram from one of her photoshoots, flashing her perfect abs while dancing to David Bowie's iconic song Let's Dance and folks are absolutely stunned by her look.
The 52-year-old actress—who recently revealed her beauty tips for midlifers—is no stranger to dancing, of course. She showed off her talents on the set of Chicago in 2002, a role that earned her the Academy award for Best Supporting Actress.
"Of course I would have 'Let's Dance' by David Bowie on my photoshoot playlist!," Catherine wrote as a caption to the clip she posted this week. "What's your go-to song to dance to?"
A post shared by Catherine Zeta-Jones (@catherinezetajones)
Unsurprisingly, the video unleashed a barrage of comments from fans of Catherine and Bowie. "It's the perfect soundtrack!!!," a user wrote. "You are rocking it," someone else commented in-between a whole lot of remarks along the lines of "you look beautiful!"
We dare say that her stellar moves and outstanding abs have undoubtedly contributed to the success of Catherine's marriage to fellow actor Michael Douglas. The couple celebrated 21 years together just last year (the secret to a successful marriage? Catherine spills how she's stayed happily married right here) and Michael took to Instagram to wish his wife a very happy anniversary.
A post shared by Michael Douglas (@michaelkirkdouglas)
Funnily enough, as amazing of a dancer as Catherine is, it seems like her talented husband (a two-time Oscar-winning actor!) just doesn't have the moves. In April, Catherine appeared on Late Night with Seth Meyers and joked that Michael "can click in time to the beat." She went on: "Every now and again, he gets off course, but he's such a great actor. Michael always says, 'When I'm dancing, always look at me from the waist up.'" Funny indeed.
Catherine also recently made headlines after sharing an emotional message following the devastating loss of musical theater icon Stephen Sondheim. The Welsh-born actress posted a selection of pictures and captioned them: "R.I.P. dearest Stephen Sondheim. I will cherish each and every moment I shared with you."
The connection between the two artists ran deep and was most clearly seen in her rendition of Stephen's ballad Send in the Clowns at the 2010 Tony Awards, the same year she received the Tony award for Best Performance by a Leading Actress in a Musical for her role as Desirée Armfeldt in the first ever revival of Stephen's musical, A Little Night Music.
Anna Rahmanan
Anna Rahmanan is a New York-based writer and editor who covers news, entertainment, lifestyle, culture, food, travel and more. Read more of her work at annabenyehuda.com.
Prince Andrew 'in tears' over 'letting Queen down' at vital moment
Prince Andrew is believed to have been in tears when the Queen told him he would lose his royal titles
By Caitlin Elliott • Published 16 January 22
Prince Harry fears he's 'not safe' in the UK because of 'inherited risk' as he takes action over lack of protection
Prince Harry shared his concern for his family's safety in a statement released by his lawyers


Those who know me can probably confirm that I am very….in touch with my emotions. I've mentioned before that I am a crier when it comes to movies, or the time I bombarded a guy with insulting memes for asking to be friends with benefits. And usually, this part of my personality gives me what I like to think can be considered a bit of quirkiness.
wait, I thought this was about quirkiness… come on, it's not all bad… I'll just stop now.
The danger really only starts when even I can't decide what to feel. Yes, torn between emotions. Ripped in two. Confused.
This doesn't happen very often, and yet, recently, I have not been able to escape the spiral of doom that is my feels. Don't worry, nothing tragic has happened (*paparazzi scurry away disappointedly*). But some of you may remember a post I made a lonnnng time ago (voilà le fabulous post), about how I need to be stressed, or I won't feel productive.
Basically, I have next to zero time to do anything but work, so I constantly feel like the most productive, achieving Penny I could possibly be, and I end up getting eight hours of work done without even noticing how the time has flown. Oh the joy, the ecstasy, the loveliness of life! The happiness is endlesssssssssssss.
However, this all comes with a down-side.
I'm talking about in-between-Starbucks phases when the weight of my responsibilities suddenly slaps me in the face and I end up having hysterical fits of crying on the carpet in my room or taking desperate five-second naps in the bathroom.
Of course, sometimes I just zone out and realize after ten minutes that the wall isn't my top priority at the moment. But you get the picture. I'm sure I'll survive.


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Sir Richard
Virgin- "More experience you might expect". I got very inspired by Sir Richard Branson at Nordic Business Forum. He and his family survived hurricane Irma and gave face to disaster of Caribbean islands and action on climate change. Again he was there on site confronting head on like in all the other disasters (he mentioned shuttle crash and train accidents) that has occurred in his career. And he wanted to be there for the people who suffered loss, showing respect to vital human aspect of entrepreneurship.
Space- Why space? He turned this around and asked the audience. How many would like to go to space? Half the hands rose. He will personally step into his Virgin Galactic in just 7 months with his family. He is not headed to Mars (Elon will take care of that) but instead he wants to see what space can do to people back here. This reflection is the key driver why I'm heavily involved in Space Nation.
Family- Spend time with your kids, he said. Empathy seems be his passion. He took a walk with his father in the garden when he announced to drop school at the age of 15. His father said that you seem to know what you want already and I did not know even at 22. So get on with it and do it.
Entrepreneurship- Entrepreneurship is about making other people's life better. His school career was a disaster and he wanted to show to his mother success. His entrepreneurial skills saved his life during his balloon ride challenge. Check out what he is doing to promote entrepreneurship through Bransoncenter. Check out also my interview (in Finnish) in Finnish Entrepreneurship magazine.
Success- He mentioned keys to success: Look for people who are good to other people, delegate your workload, be a good listener and develop art of forgiveness.
© POLKUNI 2016


Today, the NFL announced the New Orleans Saints' Drew Brees is a finalist for this week's FedEx Air Player of the Week award for his outstanding performance against the Carolina Panthers with 34 of 49 passes (69.3 percent) for 465 yards and four touchdowns with a 118.2 passer rating. This is Brees' second nomination.
Every week, following the Monday Night Football game, through Thursday at 3 p.m. ET, fans can visit NFL.com/FedEx or tweet using #AirandGround and the nominees' last name to cast their vote. FedEx and the NFL will announce the winners every Thursday afternoon and then FedEx will award a $2,000 donation in the winning players' names to The USO.
Tweet: I just voted for the NFL #AirandGround nominee! http://ctt.ec/zQU1X+.
This is how to vote, right side of the video that automatically plays.
Drew Brees of the New Orleans Saints completed 34 of 49 passes (69.3 percent) for 465 yards and four touchdowns with a 118.2 passer rating in a 41-38 win over the Carolina Panthers.
Tom Brady of the New England Patriots completed 29 of 35 passes (82.8 percent) for 376 yards and three TDs for a 140.0 passer rating in a 35-17 win against the Cincinnati Bengals.
Eli Manning of the New York Giants completed 32 of 46 passes (69.5 percent) for 403 yards and three TDs for a 100.2 passer rating in a 27-23 win over the Baltimore Ravens.
Jay Ajayi of the Miami Dolphins rushed for 204 yards on 25 carries and two TDs in a 30-15 win over the Pittsburgh Steelers.
LeSean McCoy of the Buffalo Bills rushed for 140 yards on 19 carries and three TDs in a 45-16 win over the San Francisco 49ers.
David Johnson of the Arizona Cardinals rushed for 111 yards on 22 carries and three TDs in a 28-3 win over the New York Jets.


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Il Brașov Challenger 2009 è un torneo professionistico di tennis maschile giocato sulla terra rossa, che faceva parte dell'ATP Challenger Tour 2009. Si è giocato a Brașov in Romania dal 31 agosto al 6 settembre 2009.

Partecipanti

Teste di serie

 Ranking al 24 agosto 2009.

Altri partecipanti
Giocatori che hanno ricevuto una wild card:
  Marius Copil
  Cătălin Gârd
  Andrei Mlendea
  Răzvan Sabău

Giocatori passati dalle qualificazioni:
  Alexandru Carpen
  Ilie-Aurelian Giurgiu
  Karim Maamoun
  Adrian Ungur

Campioni

Singolare

 Thiemo de Bakker ha battuto in finale  Pere Riba, 7–5, 6–0

Doppio

 Pere Riba /  Pablo Santos hanno battuto in finale  Simone Vagnozzi /  Uros Vico, 6–3, 6–2

Collegamenti esterni

Brașov Challenger 2009

redpajama_set_name: RedPajamaWikipedia


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Tag Archives: Miller-Williams
Miller-Williams Forcing County Leg Workers to Electioneer?
I've deliberately been ignoring the comings and goings of the ridiculous, court-governed county legislature race because, really, it's something that just shouldn't be. We don't need it, and we don't need them – not to do its largely ministerial functions.
But this comment made in reply to this Artvoice piece stood out:
Many Erie County Legislature's Democratic staffers are complaing that Chairwoman Miller-Williams is forcing them to canvas the 3rd Legislative District for the Independence Party Line.They are complaining because they are being made to work for Chris Collins and the other Republican Legislators who received the Independence Party's endorsement and against endorsed Democrats. Miller-Williams was also the only Democrat endorsed by them. These workers are caught in the middle because they are being told that they will be fired if they did not do this political work. Isn't this illegal under New York State election laws?
Yes, it's illegal. If it isn't, it should be. If it isn't, it's palpably unethical.
Barbara Miller-Williams has proven herself to be a loyal Collins Republican, and as with most Byron Brown allies, she blurs the line between government and campaigning into illegality that sometimes does – and sometimes doesn't – get exposed, but is seldom, if ever, prosecuted. Ask Tanya Perrin-Johnson. I frankly don't know why Ms. Miller-Williams doesn't just switch to the party with which she is most closely aligned.
I don't know why she continues to pretend to be a Democrat, but that's her business. In the long term, would be great for the community if we could restructure government into something more streamlined and effective. In the short term, as with Antoine Thompson, it would be good to be rid of bad political actors like Ms. Miller-Williams.
Tags: abolish county government, Byron Brown, county legislature, Erie County New York, Miller-Williams, politics, WNY
Barbara Miller-Williams Reacts to Judge Skretny's County Redistricting Order
I have bolded the areas that I think are most interesting. While Miller-Williams repeats twice how she "welcomes" this order, and claims that it is similar to the Republican/Miller-Williams map (it isn't, really), and notes that it does especial harm to her chances of being re-elected; when push comes to shove, she is not a "part of the Party system" as it's constituted in Erie County.
But why is she discussing her re-election campaign in a press release sent from an erie.gov address in her capacity as Legislature Chair, as opposed to her campaign apparatus?
Statement by Barbara Miller-Williams, Chair Erie County Legislature
Regarding Redistricting of the Erie County Legislature
Yesterday, Judge William Skretny issued his Order that presents us with new lines for the 11 Districts of the Erie County Legislature.
I welcome the resolution to the matter and applaud the Judge on his attention to the important federal principles. Judge Skretny, in his decision, maintained 2 majority-minority districts for the Legislature, following the directives of the Federal Voting Rights Act. And although the new districts do not adhere as closely as proposed Local Law 3-1 did to the principal of one person-one vote, the deviation in size between districts still falls well within federal guidelines. With this map, Judge Skretny has followed those principles that I have championed throughout this process – the principles that assure each voter has an equal voice in their County government.
Currently I serve as the 3rd District Legislator. The new District I reside in will be District 1. I welcome the additional residents of District 1 and am looking forward to the opportunity to address their interests in County government. This new district preserves the heart of the neighborhoods I have come to know and champion in the City and adds many neighborhoods that I have become acquainted with in my time as Chair of the Legislature. I am excited to get to better know these new neighborhoods and listen to the needs of the residents as I take my re-election campaign to every corner of the new 1st District.
There is one issue that is of concern to me with regard to the Judge's ruling in this case. Ballot access, the mechanism of our democracy that allows anyone with the will to challenge an incumbent, has been severely restricted in this process. By ordering that the Party leaders will designate those that will be listed on the ballot lines, ordinary citizens are not allowed to participate in that choice. And those that may seek the office of Legislator, if they are not a part of the Party system, are left without any real hope of a viable campaign. I understand the extreme time constraints this process has imposed upon us, but I want to make sure that a true spirit of democracy is not sacrificed in the name of expediency.
So I welcome the Order that Judge Skretny has presented us, and the resolution to the question of what the 11 Districts of the Erie County Legislature will look like beginning in 2012. I respect the process that the Judge has decreed, recognizing that it may be difficult for a challenger to step forward and run for a position on the Legislature.
I look forward to the opportunity to represent the residents of what will be the 1st Legislative District for Erie County in the upcoming election. And I thank all those who have been involved in this process to assure that every resident of Erie County is fairly represented for the next 10 years.
Tags: Chris Collins, Counties, ECDC, erie county, Legislator, Miller-Williams, politics, redistricting, William M. Skretny, WNY


The 'PokerStars Makes Millionaires' promotion has just made its third instant millionaire on the Spin & Go platform that is attracting large numbers of players eager for some fast fun and big money.
The big winner this time is a Polish fan using a laptop; 'bladsonpoker' scored $1,000,000 after just 7 minutes and 18 seconds of poker action to become the second player in a week to win $1 Million in a Spin & Go.
The $5 Spin & Go tournament started at 19.39 CET on April 28, with 'bladsonpoker' winning the $1 million top prize after just 29 hands of poker – effectively an average of just over $34,482 per hand.
The runner-up was 'hooomlesnurr' who won $100,000. The third-place player, 'ROliver ceo', also won $100,000.
Remarkably, Pokerstars reports that while playing the $1 Million Spin & Go, the newly minted Polish mobile millionaire was also registered in other tournaments, including a $4.40 No Limit Hold'em tournament with 4,767 other players.
Despite winning $1 million, 'bladsonpoker' continued playing the $4.40 tournament on his mobile device, eventually being eliminated almost 90 minutes later.
'PokerStars Makes Millionaires' is a two-month promotion that began on March 27 and is set to run for another month.


Welcome to the Coast to Coast Rare Stones International website. We specialize in those gems that you are less likely to encounter anywhere else, but we also carry the best quality commercial colored stones, combined with the best custom cutting you will find. In fact, we have the most varied selection of quality colored gemstones you will find anywhere, ranging from talc (hardness=1) to ruby and sapphire (hardness=9), with an occasional diamond thrown in to round it up to 10!
Coast to Coast Rare Stones is a cooperative of three full-time professional lapidaries with experience in gemcutting dating back to the early 1970's. We travel the globe in search of unique materials to interest collectors as well as cutting stones that are appropriate for setting into jewelry. We have been involved in the mining of colored gemstones including benitoite and spessartite garnet in California, tourmaline from Mt. Mica in Maine and Northwest Territories in Canada as well as a number of rarer species from all over North America. Our contacts within the gemstone mining industry make it possible to bring you the finest quality gems at the best price.
All of those stones that are marked as "Cut By Us" are cut in our offices here in the United States and Canada. We tend to cut the best and biggest stones out of the parcels we buy, but we send out our smaller stones to factories that facet to our precise specifications. Be assured that you are getting the best quality cut stones that you can find.
Also, check out our "Clearance" pages for gems that came from old collections, or items of which we have too many. These are priced to sell quickly, so that we can get back to cutting our top quality gemstones.
We offer geological and gemological consulting with experience in gem site exploration and evaluation. Our backgrounds are listed in "Our People". We are continually cutting; if you have questions about any of the "inventory" or are looking for something in particular, please "contact us" with your request, email address and phone number. We update our site daily, so please check us often.
Show's Over! Back to work!
The Tucson Shows are over, and we are now in recovery mode. Frequent visitors to this website will have noticed that many stones were sold this year, so we will soon be back to cutting after we catch up on getting our offices and workshops back into some kind of order. It was great to see so many of our friends and customers this year, and we look forward to staying in touch with you during the coming year. Keep a look out for some species and varieties we haven't had in a while, as we were able to buy some rough at this year's shows, although it is getting more difficult.
For the last five years, John has been writing an article on a different rare stone for each edition of Gem World International's publication, the Gem Guide. There have been articles on many rare species, such as rhodochrosite, sphene, hauyne, sphalerite, tugtupite, benitoite, fluorite, and most recently, tenebrescent zircons. Relevant gemological data as well as locality information, availability, care and handling can be read in these articles. The Guide is a fantastic resource for pricing, appraising, and market conditions. If you don't already subscribe, we would highly recommend it.
We are constantly upgrading our website to make it easier to navigate, reserve, and purchase stones. Larger pictures of most of the inventory have been added and can be viewed by clicking on the thumbnail photos. By registering and logging in, you can track current and past orders, change your password, etc. Our secure website makes it easy to pay for your order by credit card (Visa, MasterCard, Discover and now we are also accepting American Express). Try it out!


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The Out in Business club and LGBTQ+ community at LBS
Home / Themes • Applying to LBS • Themes • General news • Programmes • Student Voices / The Out in Business club and L ...
By Students@LBS November 25, 2020 Applying to LBS, General news, Programmes, Student Voiceslgbtq+, out in business, Student voices
By Yoon Kim, Recruitment & Admissions Manager and Kushal Bajpai, MAM2020
One thing I love the most about LBS is our inclusive and diverse community. As a gay East Asian man living in London, I have never felt such a strong sense of belonging anywhere else including my home country. So, what is so special about the LBS community? Our recent Masters in Analytics and Management graduate, Kushal Bajpai (MAM2020), shares his experience at LBS as a member of the LGBTQ+ community.
My name is Kushal Bajpai, I am Indian and gay. I graduated from the first batch of MAM in 2020.
How was your life as a gay man before joining LBS?
I wasn't out during my undergraduate in Mumbai, and there were no LGBTQ+ societies in my university. So, when I got my admission letter from LBS, I decided to be as open about my sexuality as possible. Fortunately, I was met with nothing but acceptance and support.
Tell us about Out in Business (OiB) club.
Joining the Out in Business (OiB) club was possibly the best decision I made at LBS. I remember sitting in our first club meeting in a room full of LGBTQ+ students and allies from all over the world and listening to their stories in awe. I was the Vice President of Marketing, and I enjoyed every aspect of it: reaching out to students and professionals across the globe, corresponding with partner companies, and working with my brilliant club-mates. Over the course of the year, I had become best friends with some of them and we organised EUROUT 2019, where we had the opportunity to network with LGBTQ+ professionals from dozens of companies. These proved to be invaluable from a networking standpoint: I got referred to many jobs by people I met during EUROUT, but I also became good friends with many as well, and I still meet them for coffee or drinks every now and then.
How did you contribute to the LGBTQ+ community at LBS?
With OiB, I also got the chance to share my story with my peers. During "Coming Out Week", I shared my story of growing up as a gay man in India with my classmates; with my club-mates from OiB and allies from the Rugby club standing beside me. My classmates could not have been more supportive and I have still safely kept the many notes of support they wrote to me. As a part of the "Social Impact Week", I also got to talk to the wider LBS community, where I shared the history of the LGBTQ+ rights in India.
Do you still feel a sense of belonging to the LBS community as an alumnus?
Another great perk of being part of this community is the alumni network. OiB alumni are always open to helping you get further in your career and are often a part of LGBTQ+ groups of other organisations, which is a great way to learn more about any prospective employers.
What would you like to say to prospective students from the LGBTQ+ community?
I am now working as a Data Scientist in London, for a company I discovered via LBS, and I know I will always have the strong network I built at LBS to lean on. To any prospective students who would like to join LBS or OiB, I couldn't recommend LBS enough. I had the time of my life here and I hope you would too! If you get the chance to be a part of this amazing community, I hope you will make the most of it and be as involved as you can. Feel free to reach out to me for any questions!
Having been with LBS for just over 2 years as a staff member, I have met so many amazing LGBTQ+ students, staff and allies at LBS. If anyone is considering applying for LBS and wondering whether they'd fit in, I would like to say – we will wholeheartedly welcome you!
Introducing our new MiF Ambassadors


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Bill and Joel Plaskett – Solidarity
Tuesday 14th, February 2017 / 17:38
in • Record Reviews, REVIEWS
By Liam Prost
Pheromone Records
When you've entered 'do no wrong' territory as Haligonian singer-songwriter-rocker-poet Joel Plaskett has, expectations become outrageously high. In response to the obvious pressure, it seems Plaskett has been making less and less grandiose records as time goes on. The worst thing you can say about 2015's Park Avenue Sobriety Test is that it's small. The titular song referencing a particularly sharp turn in a backstreet in Dartmouth, NS; smallness is not the record's curse, only its caveat.
Solidarity is a similarly small release, bringing in his English-born father for co-singing and song writing duties.
Bill Plaskett's contributions are traditional and unpolished. Listening to Bill's wheezy delivery almost feels like listening to one's own dad. Unlike Joel's beatnik Canadiana lyricism, Bill's writing is gooey and straightforward, warmed in the corners by glowing new-folk arrangements. There's a reason why the dad is billed (pun intended) first as well, the record is almost evenly split between who leads each track, a conceit that does more to introduce us to Bill than to add more to Joel's legacy. But the record's most inviting moments are when the duo are singing together, most notably on the smile-inducing title track: a protest song with cheek-to-cheek Nova Scotian earnestness. An unobtrusive fiddle anchors the song in tradition, while the younger Plaskett picks up the song with a sly guitar solo near the end.
Solidarity is profoundly unpretentious. No one would blame you for dismissing it as insubstantial, but to do so would be to ignore the joy of small, friendly, family music.
Bill Plaskett, Joel Plaskett, Solidarity
← Ramshackle Glory – One Last Big Job Kid Koala – Music To Draw To: Satellite →


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USS Sturgeon (SSN-637)
Nuclear-Powered Attack Submarine
USS Sturgeon SSN-637, lead ship of the all-important Sturgeon-class, served the United States Navy from 1967 until decommissioned in 1994.
Authored By: Staff Writer | Edited: 11/20/2017
Credit: Image from the Public Domain.
Ships-in-Class: 37
Named Ships: Sturgeon (SSN-637); Whale (SSN-638); Tautog (SSN-639); Grayling (SSN-646); Pogy (SSN-647); Aspro (SSN-648); Sunfish (SSN-649); Pargo (SSN-650); Queenfish (SSN-651); Puffer (SSN-652); Ray (SSN-653); Sand Lance (SSN-660); Lapon (SSN-661); Gurnard (SSN-662); Hammerhead (SSN-663); Sea Devil (SSN-664); Guitarro (SSN-665); Hawkbill (SSN-666); Bergall (SSN-667); Spadefish (SSN-668); Seahorse (SSN-669); Finback (SSN-670); Pintado (SSN-672); Flying Fish (SSN-673); Trepang (SSN-674); Bluefish (SSN-675); Billfish (SSN-676); Drum (SSN-677); Archerfish (SSN-678); Silversides (SSN-679); William H. Bates (SSN-680); Batfish (SSN-681); Tunny (SSN-682); Parche (SSN-683); Cavalla (SSN-684); L. Mendel Rivers (SSN-686); Richard B. Russell (SSN-687)
Roles: Hunter; Direct-Attack;
Length: 292 ft (89.00 m)
Width: 32 ft (9.75 m)
Height: 29 ft (8.84 m)
Propulsion: 1 x General Electric S3G Core 3 nuclear reactor with 1 x Westinghouse S5W steam plant driving power to 1 x shaft astern.
Operators: United States (retired)
At the heart of the American undersea fleet during the Cold War period (1947-1991) was the Sturgeon-class nuclear-powered attack submarine. Thirty-seven of the boats were built from the span of 1963-1975 and the group served from 1967 until 2004 - all since having been retired. The class was succeeded in service by the potent Los Angeles-class submarines and the USN submarine fleet was further reinforced with the arrivals of the Virginia-class and the limited-quantity Seawolf-class boats in time.
Sturgeon Lineage
The Sturgeon-class was essentially an enlarged and, ultimately, an improved form of the preceding Permit-class submarines. The Permit-class numbered fourteen boats in all and began appearing in the late-1950s, themselves an improvement of the earlier Skipjack-class of the mid-1950s. The main advantage of the newer Sturgeon-class was in the attention paid to noise reduction techniques and to improvements to the electrical systems - making for a more potent undersea vessel.
USS Sturgeon (SSN-637) became lead ship of the new class and the boat was ordered on November 30th, 1961, assigned to shipbuilder General Dynamics Electric Boat of Groton, Connecticut. Her keel was laid down on August 10th, 1963 and she was formally commissioned into service on March 3rd, 1967.
As built, the boat displaced 4,010 tons under light loads and 4,310 tons under full loads. Her bow-to-stern length reached 292 feet and the beam measured 32 feet. The draught was 29 feet. Power was supplied by a General Electric S3G (Submarine, 3rd Gen, GE) nuclear reactor unit coupled to a Westinghouse S5W (Submarine, 5th Gen, Westinghouse) steam plant. This arrangement allowed the boat to reach speeds of up to 28 knots when submerged and its operational range was essentially unlimited (restricted primarily by onboard food stores and crew fatigue). The hull was tested to depths of 1,350 feet. Aboard there were 14 offers and 95 enlisted personnel. Armament was 4 x 21" (533mm) torpedo tubes all mounted at the bow.
Walk-Around
Externally, the boat held a traditional appearance as modern submarines go. The bow section was rounded to promote strong hydrodynamic qualities and the sail was positioned ahead of midships. At the stern there was a cruciform tailplane pattern with the propeller extended a short distance away. The hull was rounded in the usual way and the overall design a sleek and slim in appearance.
Sturgeon's shakedown cruise took place along the American East Coast and in Caribbean waters during the latter part of the 1960s. In service, the Sturgeon-class boats were designated primarily for intelligence-gathering against the Soviet Union where their speed and silence were put to good use. This also involved supporting national security endeavors and special forces missions as called upon. USS Sturgeon was involved in Anti-Submarine Warfare (ASW) exercises for the very early part of her ocean-going career and then assisted in trying to locate the missing submarine USS Scorpion (SSN-589) near the Azores. In 1969 she was awarded the Meritorious Unit Commendation for her excellent service to date.
In 1971, the boat was given an overhaul to refresh her systems and other vital internal workings. More ASW exercises followed but the vessel ran aground near St. Croix in May of 1973 which damaged her bow and forced a return to the American East Coast for June of that year. From then on, she was part of the American Navy Atlantic force and managed training of future seamen afterwards before sailing to the Mediterranean. From there she partook in "ICEX 89" in Arctic waters and was refitted at Charleston, South Carolina later that year.
With the Cold War over following the demise of the Soviet Empire - and technology having passed her by - USS Sturgeon was decommissioned from service on August 1st, 1994 and struck from the Naval Register soon after. Once her powerplant was properly disposed of and the hull stripped of its military usefulness, she was sold off for scrap. Both her sail and her control station survived the scrapman's torch and these were put on display at the Naval Undersea Museum and the Submarine Force Library and Museum, respectively.
4 x 533mm (21") torpedo tubes (bow-facing) (Mk 48 torpedoes).
Support for UUM-44A SUBROC missiles, UGN-84A/C Harpoon anti-ship missiles, Mk 57 naval mines and Mk 60 CAPTOR naval mines.


text:
Lucio Mendieta y Núñez (1895-1988) était un sociologue et juriste mexicain. Ses travaux sur le monde rural et l'agriculture au Mexique sont importants et il est un des responsables de la transformation de la sociologie mexicaine en un champ institutionnel.

Rôle dans l'institution de la sociologie mexicaine

Mendieta y Núñez a été fortement impliqué dans la constitution d'institutions de recherche, de vulgarisation et de diffusion des sciences sociales au Mexique. À ce titre, on le considère comme l'un des fondateurs de la sociologie institutionnelle au Mexique. Ainsi, par exemple, Mendieta y Núñez sera l'instigateur en 1930 de l'Instituto de Investigaciones Sociales (Institut de recherches sociales), de la Revista Mexicana de Sociología (Revue mexicaine de sociologie) qui sera créée en 1939 et des Cuadernos de Sociología (Cahiers de sociologie), qu'il lancera en 1947. Par ailleurs il sera pendant longtemps président de l'Asociación Mexicana de Sociología.

Instituto de Investigaciones Sociales

De 1939 à 1965 il sera directeur de l'Instituto de Investigaciones Sociales de l'Université nationale autonome du Mexique (UNAM). L'Institut fut créé en 1930 à son initiative. Dès ses débuts cet institut sera un des rares membres institutionnels de l'Association internationale de sociologie. Cet Institut a comme objectif de vulgariser les sciences sociales.

Revista Mexicana de Sociología

En 1939, il créera la Revista Mexicana de Sociología qui publiera des articles théoriques et empiriques en espagnol. Celle-ci est la revue de sciences sociales la plus ancienne encore en activité en Amérique latine.

Sa sociologie

Sa sociologie est d'inspiration wéberienne, on y retrouve, par exemple, les catégories de prestige, de pouvoir et d'autorité. En effet, Mendieta y Núñez se concentre sur l'étude des relations de pouvoir et des représentations symboliques. Il définit la société comme la rencontre d'individus qui vivent des interrelations matérielles et spirituelles constantes et complexes. Sa sociologie approche le juridique et le politique en matière de relations entre groupes et de représentation de la stratification sociale.

Sociologue de la ruralité

Durant ses études de droit à Mexico, Lucio Mendieta y Núñez, originaire d'Oaxaca dans le sud du Mexique, prend parti pour les travailleurs ruraux. À partir des années 1920, il occupera plusieurs fonctions de conseilleur dans l'administration fédérale ainsi qu'au Partido Nacional Revolucionario. Durant toute sa carrière Mendieta y Núñez maintint des rapports étroits avec l'administration publique qu'il conseille à de nombreuses reprises sur des thématiques liées à l'agriculture et aux relations avec les indigènes du Mexique. Dans ses études sur le monde rural, Mendieta y Núñez analyse les politiques agricoles, mais également la stratification et les représentations. Il étudie différents aspects du folklore.

Sociologue de l'université

Mendieta y Núñez s'intéressera aussi à l'étude de l'université. Il étudiera le rôle social du sociologue, mais également la figure de l'intellectuel universitaire dans sa relation au travail et à l'institution.

Reconnaissances

En reconnaissance de son travail de pionnier, la UNAM a donné à une salle le nom de Lucio Mendieta y Núñez ainsi qu'à un prix, la médaille Mendieta y Núñez, récompensant un chercheur en sciences sociales.

Bibliographie
ordre chronologique, non exhaustive

en français
 Théorie des groupements sociaux (1957) traduction de Armand Cuvillier.

en espagnol
 Las poblaciones indígenas de América ante el derecho actual (1936)
 El derecho precolonial (1937)
 El problema agrario de México (1937)
 Teoría de la revolución (1959)
 Sociología de la burocracia (1961)
 Sociología del arte (1962)
 Sociología del poder (1969)
 México indígena (1986)

Liens externes

  Instituto de Investigaciones Sociales
  Revista Mexicana de Sociología

Universitaire mexicain
Sociologue mexicain
Juriste mexicain
Naissance en janvier 1895
Décès en novembre 1988
Naissance à Mexico
Décès à Mexico
Décès à 93 ans


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