text:
Home » Surgical » Reducing Post Surgical Deaths
Reducing Post Surgical Deaths
Written by Andy Smith, MTM publisher
A piece in the Times of London, 17th April entitled 'Checking the basics helps reduce deaths after surgery', drew my attention during that morning's breakfast reading.
Since 2008 Scotland has seen a 36.6 percent reduction in post-operative deaths. The article co-authored by Professor Jason Leitch, National Clinical Director of Healthcare Quality and Strategy, and Times journalist Helen Puttick, was derived from a peer reviewed publication in the British Journal of Surgery.
This result was obtained after the national adoption of the WHO checklist in 2008, which as the article points out was derived from airline practices, tying neatly back to my recent opinion piece.
The checklist was originally co-authored by Dr. Atul Gawande who congratulated Scotland on 'a multi-year effort that has produced some of the largest population-wide reductions in surgical deaths ever documented.' The data is derived from the study of seven million procedures.
The checklist requires: 'staff to double-check basics such as which side of the patient they are operating on, whether the necessary medication has been given and whether a bed in intensive care is available should the patient deteriorate. It also ensures that staff in an operating theatre introduce themselves and communicate about the patient and procedure'.
As with all newspapers the piece gives the opportunity for comment from readers. One of the best, fairly representative of all said, 'We put a man in the moon 50 years ago and this was introduced in 2008 not 1908.'
Perhaps there is an opportunity here to give some incentive or protection to those hospitals and clinicians who properly operate the WHO checklist, and train their staff to do so, should a wrong site surgery take place or an avoidable death result? Conversely, to really punish those who do not operate the checklist.
Medical Airmen use T6 Health System device to improve efficiency
UofL, IBM partnership prepares next-generation workforce


A lasting blend of old-school styling and contemporary construction, Grant is the kind of watch that's authentically Fossil. A dark blue leather strap makes it well suited for every occasion.
A lasting blend of old-school styling and contemporary construction, Grant is the kind of watch that's authentically Fossil.
A dark blue leather strap makes it well suited for every occasion.


text:
package org.bitbucket.mlopatkin.android.logviewer;

public interface IndexController {
    void activateRow(int row);

    void onWindowClosed();
}

redpajama_set_name: RedPajamaGithub


text:
Philip Morris USA Inc. v. Serkan Kapu
The Complainant is Philip Morris USA Inc. of Richmond, Virginia, United States of America ("United States"), represented by CSC Digital Brand Services AB, Sweden.
The Respondent is Serkan Kapu of New York, United States, self-represented.
The disputed domain name <philipmorriscoin.com> is registered with GoDaddy.com, LLC (the "Registrar").
The Complaint was filed with the WIPO Arbitration and Mediation Center (the "Center") on February 5, 2018. On the same day, the Center transmitted by email to the Registrar a request for registrar verification in connection with the disputed domain name. On February 6, 2018, the Registrar transmitted by email to the Center its verification response confirming that the Respondent is listed as the registrant and providing the contact details.
In accordance with the Rules, paragraphs 2 and 4, the Center formally notified the Respondent of the Complaint, and the proceedings commenced on February 8, 2018. In accordance with the Rules, paragraph 5, the due date for Response was February 28, 2018. The Respondent submitted an informal email communication on February 5, 2018 but did not submit a formal Response. Accordingly, on March 1, 2018, the Center notified the Parties that it would proceed to Panel appointment.
The Center appointed Andrew J. Park as the sole panelist in this matter on March 9, 2018. The Panel finds that it was properly constituted. The Panel has submitted the Statement of Acceptance and Declaration of Impartiality and Independence, as required by the Center to ensure compliance with the Rules, paragraph 7.
The Complainant, Philip Morris USA Inc., is a corporation organized and existing under the laws of the Commonwealth of Virginia. The Complainant is an American multinational cigarette and tobacco manufacturing company, with products sold in over 180 countries outside the United States. The Complainant has been using the trademark PHILIP MORRIS continuously throughout the United States for over a century and the public has come to associate the trademark PHILIP MORRIS with the Complainant as a company with tobacco products. The Complainant has also registered several domain names incorporating the trademark PHILIP MORRIS including: <philipmorris.com>, <philipmorris.net>, <philipmorris.org>, and <philipmorris.info>. The Complainant's primary domain name is <philipmorris.com>.
The disputed domain name <philipmorriscoin.com> was registered on December 26, 2017 and resolves to a website stating that "[the] website [is] coming soon".
The Complainant contends that the disputed domain name should be transferred to the Complainant because:
1) the disputed domain name <philipmorriscoin.com> is identical and confusingly similar to the Complainant's mark in which the Complainant has rights. The Complainant has common law rights to the PHILIP MORRIS trademark as it has acquired sufficient secondary meaning. The Complainant has established use in commerce of the trademark and has demonstrated its common law rights by the Complainant's continuous use of the PHILIP MORRIS mark in connection with its products for over a century. The Complainant's PHILIP MORRIS mark is well-known and famous in the tobacco industry. The disputed domain name can be considered as capturing, in its entirety, the Complainant's PHILIP MORRIS trademark and simply adding the generic term "coin" to the end of the mark. The mere addition of this term to the Complainant's mark does not negate the confusing similarity between the disputed domain name and the Complainant's mark under Policy 4(a)(i), and the disputed domain name must be considered confusingly similar to the Complainant's mark.
2) the Respondent has no rights or legitimate interests in the disputed domain name. The Respondent has no connection or affiliation with the Complainant, its affiliates, or any of the many products provided by the Complainant under the "Philip Morris" name. Moreover, the Respondent was never known by any name or trademark that incorporates "Philip Morris" and is not commonly known by the disputed domain name, which evinces a lack of rights or legitimate interests. The Respondent is also using the disputed domain name to redirect Internet users to a holding page with a message that states, "Website Coming Soon!" and has failed to make use of this disputed domain name and its inactive website, and has not demonstrated any attempt to make legitimate use of them.
3) the disputed domain name was registered and is being used in bad faith. The Complainant's trademark PHILIP MORRIS has the status of a well-known and reputed mark with a substantial and widespread reputation throughout the United States and the world. The Respondent registered the disputed domain name on December 26, 2017, which is significantly after the Complainant first started using the "Philip Morris" name in 1846 and the Complainant's registration of its <philipmorris.com> domain name on August 8, 1995. The Complainant insists that the Respondent knew or at least should have known of the existence of the Complainant's well-known trademark and domain names containing the mark PHILIP MORRIS at the time of its registration of the disputed domain name, and this constitutes per se bad faith.
The Respondent submitted an informal email communication stating "I don't understand the problem? Should I do anything for that?" on February 5, 2018, but did not submit any formal Response to the Complaint.
This element consists of two parts; first, whether the Complainant has rights in a relevant trademark and, second, whether the disputed domain name is identical or confusingly similar to that trademark.
The Panel finds that the Complainant has established common law rights in the mark PHILIP MORRIS by long-standing and continuous use in the tobacco industry. Further, the Panel finds that the disputed domain name is identical to the Complainant's trademark on the grounds that the disputed domain name incorporates the Complainant's trademark in its entirety, and the addition of the descriptive term "coin" and a Top-Level Domain such as ".com" in a domain name may be disregarded when assessing whether a domain name is identical or confusingly similar to a trademark (Proactiva Medio Ambiente, S.A. v. Proactiva, WIPO Case No. D2012-0182).
For these reasons, pursuant to the Policy, paragraph 4(a)(i), the Panel finds that the disputed domain name is identical to the Complainant's trademarks.
Pursuant to paragraph 4(a)(ii) of the Policy, the Complainant is required to make out a prima facie case that the Respondent lacks rights or legitimate interests in the disputed domain name. Once such a prima facie case is made, the Respondent carries the burden of demonstrating its rights or legitimate interests in the disputed domain name. If the Respondent fails to do so, the Complainant is deemed to have satisfied paragraph 4(a)(ii) of the Policy. See WIPO Overview of WIPO Panel Views on Selected UDRP Questions, Third Edition ("WIPO Overview 3.0"), section 2.1.
Here, the Panel finds that the Complainant has made out a prima facie case.
The Complainant has asserted that the Respondent has no relationship with or authorization from the Complainant to use its trademarks. There is nothing in the record to suggest that the Respondent has made a legitimate noncommercial or fair use of the disputed domain name or has been commonly known by the disputed domain name. Also, there is no evidence that the Respondent has an intention to use the disputed domain name in connection with a bona fide offering of goods or services. The Panel's view is that these facts may be taken as true in the circumstances of this case and in view of the use of the disputed domain name.
The Panel agrees with the Complainant that there is no evidence whatsoever that the Respondent is currently using or commonly known by, has used or has been commonly known under, or has a bona fide intent to use or be commonly known under the disputed domain name or the name.
Accordingly, the Panel holds that the Respondent has no rights or legitimate interests in the disputed domain name pursuant to paragraph 4(a)(ii) of the Policy.
Paragraph 4(b) of the Policy provides a non-exclusive list of circumstances that evidence registration and use of a domain name in bad faith. Any one of the following is sufficient to support a finding of bad faith:
(i) circumstances indicating that the respondent has registered or acquired the domain name primarily for the purpose of selling, renting, or otherwise transferring the domain name registration to the complainant who is the owner of the trademark or service mark or to a competitor of that the complainant, for valuable consideration in excess of the respondent's documented out-of-pocket costs directly related to the domain name; or
(ii) the respondent has registered the domain name in order to prevent the owner of the trademark or service mark from reflecting the mark in a corresponding domain name, provided that the respondent has engaged in a pattern of such conduct; or
(iii) the respondent has registered the domain name primarily for the purpose of disrupting the business of a competitor; or
(iv) by using the domain name, the respondent has intentionally attempted to attract, for commercial gain, Internet users to its website or other online location, by creating a likelihood of confusion with the complainant's mark as to the source, sponsorship, affiliation, or endorsement of the respondent's website or location or of a product or service on the respondent's website or location.
The Complainant argues that the Respondent registered and is using the disputed domain name in bad faith in violation of the Policy, paragraph 4(a)(iii). Specifically, the Complainant claims that the Respondent violated the Policy, paragraph 4(b)(iv). The Respondent has created a disputed domain name that is confusingly similar to Complainant's trade name, brand, and marks, as well as its <philipmorris.com> domain name with the knowledge of Complainant's worldwide famous brand and its business in the tobacco industry. The Complainant insists that even passively holding a disputed domain name that contains the Complainant's trade name and an inactive website demonstrate the Respondent's unauthorized registration of the disputed domain name in bad faith.
As stated previously, the Respondent did not file any formal response to the Complaint, failing thereby to rebut the Complainant's allegations of the Respondent's bad faith registration and use of the disputed domain name.
Nevertheless, the Panel still has the responsibility of determining which of the Complainant's assertions are established as facts, and whether the conclusions asserted by the Complainant can be drawn from the established facts (see Harvey Norman Retailing Pty Ltd v. Oxford-University, WIPO Case No. D2000-0944).
The Panel finds that the Complainant's trademark PHILIP MORRIS is well-known, and that it has been used for more than 100 continuous years. The disputed domain name is confusingly similar to the Complainant's trademark and the Panel confirms that there is no evidence whatsoever that the Respondent is currently using the disputed domain name with a bona fide purpose or commonly known by, has used or has been commonly known under, or has a bona fide intent to use or be commonly known under the disputed domain name or the name "Philip Morris". It is clear that the Respondent registered the disputed domain name with the knowledge of the Complainant's famous brand and it business. Accordingly, the evidence shows that the Respondent likely knew of and has sought to take unfair advantage of the similarity between the disputed domain name and the Complainant's trademark in violation of paragraph 4(b)(iv) of the Policy.
As the conduct described above falls squarely within paragraph 4(b)(iv) of the Policy, the Panel concludes that the Respondent registered and is using the disputed domain name in bad faith pursuant to the Policy, paragraph 4(a)(iii).
For the foregoing reasons, in accordance with paragraphs 4(i) of the Policy and 15 of the Rules, the Panel orders that the disputed domain name <philipmorriscoin.com> be transferred to the Complainant.
Andrew J. Park

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How can i resolve dpkg error after uninstalling python3? I tried to uninstall python3.5 from my Ubuntu 16.04 by using the command sudo apt-get remove python3 within the directory /usr/bin. When I tried to install it again, using sudo apt-get install python3, I am getting the following error:
>> /usr/bin$ sudo apt-get remove python3
>> Reading package lists... Done
Building dependency tree
Reading state information... Done
Package 'python3' is not installed, so not removed
The following packages were automatically installed and are no longer required:
  gir1.2-glib-2.0 libexpat1-dev libgirepository-1.0-1 libpython3-dev libpython3.5-dev python-pip-whl python-pycurl python3.5-dev
Use 'sudo apt autoremove' to remove them.
0 upgraded, 0 newly installed, 0 to remove and 61 not upgraded.

>> python3 -V
>> bash: /usr/bin/python3: No such file or directory

>> sudo apt-get install python3
>> Reading package lists... Done
Building dependency tree
Reading state information... Done
The following packages were automatically installed and are no longer required:
  gir1.2-glib-2.0 libexpat1-dev libgirepository-1.0-1 libpython3-dev libpython3.5-dev python-pip-whl python-pycurl python3.5-dev
Use 'sudo apt autoremove' to remove them.
The following additional packages will be installed:
  dh-python
Suggested packages:
  python3-doc python3-tk python3-venv
The following NEW packages will be installed:
  dh-python python3
0 upgraded, 2 newly installed, 0 to remove and 61 not upgraded.
Need to get 0 B/82.7 kB of archives.
After this operation, 436 kB of additional disk space will be used.
Do you want to continue? [Y/n] y
Selecting previously unselected package dh-python.
(Reading database ... 180938 files and directories currently installed.)
Preparing to unpack .../dh-python_2.20151103ubuntu1.2_all.deb ...
Unpacking dh-python (2.20151103ubuntu1.2) ...
Selecting previously unselected package python3.
Preparing to unpack .../python3_3.5.1-3_amd64.deb ...
Unpacking python3 (3.5.1-3) ...
Processing triggers for man-db (2.7.5-1) ...
Setting up python3 (3.5.1-3) ...
running python rtupdate hooks for python3.5...
/usr/share/python3/runtime.d/dh-python.rtupdate: 5: /usr/share/python3/runtime.d/dh-python.rtupdate: py3clean: not found
error running python rtupdate hook dh-python
dpkg: error processing package python3 (--configure):
 subprocess installed post-installation script returned error exit status 4
dpkg: dependency problems prevent configuration of dh-python:
 dh-python depends on python3:any (>= 3.3.2-2~); however:
  Package python3 is not configured yet.

dpkg: error processing package dh-python (--configure):
 dependency problems - leaving unconfigured
Errors were encountered while processing:
 python3
 dh-python
E: Sub-process /usr/bin/dpkg returned an error code (1)

>> whereis python3
>> python3: /usr/bin/python3.6m /usr/bin/python3.6 /usr/bin/python3.5m /usr/bin/python3 /usr/lib/python3.5 /usr/lib/python3.6 /usr/lib/python3 /etc/python3.5 /etc/python3.6 /etc/python3 /usr/local/lib/python3.5 /usr/local/lib/python3.6 /usr/share/python3 /usr/share/man/man1/python3.1.gz

Please suggest a solution.

A: If you want to be sure a package is completely removed, use the "purge" option. This will also remove all configuration files.
sudo apt purge python3
sudo apt-get purge python3

You can also use "*" but this will remove really everything which begins with python3.
sudo apt purge python3*

But as mentioned in many comments removing the system Python is a bad idea.
Therefore to have better control over removing check what is still installed.
dpkg -l | grep -E '*python*' | less

Alternatively, you can look directly in the installation directory.
ls /usr/bin/python

This way you can check what python packages you have installed. And see their exact name should you want to remove them.
It appears to me that when you run:
sudo apt-get install python3

it tries to install just the "dh-python" package because it still finds some python package installed. It also tells you that python3 is not configured yet. So it seems it is installed but due to your previous attempts to remove it the configuration is not OK and therefore it can not install "dh-python". So properly removing the python3 package with its configuration files (which was before installed by you, not by the system), should allow you to install it correctly...
EDIT
Before removing Python rather try:
sudo dpkg-reconfigure python3*

In your case, it will be:
sudo dpkg-reconfigure python3.5*

And if you decide to remove python. (The version installed by you, not by system) make sure you check what depends on it. Here you can see how.

redpajama_set_name: RedPajamaStackExchange


It is playoff time for teams in the Interscholastic League, including a first-round district matchup between the league's champion and its previous repeat champion.
East, winner of the 2015 regular season IL crown, will play host Friday at IL Stadium to Lincoln Prep, two-time league champion from 2013-14.
The Bears, 5-4 overall, finished 5-0 in the six-team IL. They are the No. 4 seed in Class 3 District 8.
Lincoln completed its regular season slate with a 4-5 mark, including 2-1 in the IL. The Blue Tigers are the district's No. 5 seed, but will enter district play without its top offensive weapon and starting cornerback.
Despite being dethroned as league champions, Newell said the team is excited to begin postseason play.
Northeast begins district play on an 8-game losing streak after winning the first game of the season. An opening-round game against undefeated Maryville, 9-0, awaits the Vikings in Class 3 District 8 action.
The Spoofhounds are the state's No. 1 ranked team in Class 3 heading into postseason play and seeded first in the district. Northeast is seeded eighth.
Bair added the pressure is on Maryville to handle business. The Vikings are relishing the underdog role.
"This is the first time in a while our kids have played a game without any pressure on us, so it will be fun to see how well we can execute when we're loose," Bair said.
Southwest Early College Campus, 3-5 overall and 2-1 in league play, will get a shot at redemption when it opens Class 3 District 7 play against Hogan Prep.
Second-seeded Hogan, 9-0, defeated the seventh-seeded Indians earlier this season, a fact not lost on head coach Roger Franks or his squad.
African Centered College Prep, 1-7, 0-4, will also seek retribution in its Class 2, District 4 matchup Saturday at Summit Christian Academy.
The seventh-seeded Knights were knocked off 30-19 earlier in the season by the second-seeded Eagles, 8-1 and 3-0 in Crossroads Conference play.
"My kids are going into this game with a lot of confidence, ACCP head coach Leon McElrath said. "This team beat us about three weeks ago, 30-19. We had three trips inside their 10 yard-line, and only came away with seven points. It would have been a different game if we could have scored another TD inside the 10.
Kansas City Central enters postseason play with a 2-6 record, including a 2-2 mark in league play.
The Blue Eagles, seeded eighth in Class 3 District 7, will face top-seeded Odessa (8-1) to open district play.


text:
About Fashionela
FASHION EDITORS
Chanel Métiers d'art 2021 collection through the lens of Juergen Teller
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Mugler released video teaser of Spring 2021 collection
In an unprecedented season, Mugler creative director Casey Cadwallader presents an ambitious prelude to the Spring Summer 2021 collection in a short film by Florian Joahn and a still visual portfolio by Carlijn...
Ermanno Scervino Resort 2021 collection
A cool Mediterranean breeze blows on the Ermanno Scervino Resort 2021 collection, adding a new allure to the harmonious contrasts that define the brand's essence. A female figure with multiple...
Balmain Pre-Fall 2020 women's collection
Discover Balmain's Pre-Fall 2020 women's collection! For this occasion Olivier Rousteing, emblematic Creative Director of the French fashion house, released a statement. "My team and I began our thoughts,...
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A message about leaving behind fashion's old rules, Epilogue is Alessandro Michele's collection, which is also his experiment. In place of models there are those who designed the clothes wearing the clothes,...
Valentino Resort 2021 collection
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Chanel Fall 2020 Haute Couture collection: Limitless creativity and sophisticated eccentricity
Limitless creativity and sophistication are at the heart of the Chanel Fall-Winter 2020/21 Haute Couture collection, as imagined by Virginie Viard and captured by Mikael Jansson. "I had the idea...
Chanel Cruise 2021: Balade en Méditerranée
On Monday, June 8, Chanel digitally unveiled the 2020-2021 Cruise Collection, which had initially been scheduled to show in Capri on May 7. Due to the coronavirus pandemic, this became Chanel's first...
During the run-up to the Chanel 2020/21 Métiers d'art show, the German photographer Juergen Teller produced a teaser and a series...
In an unprecedented season, Mugler creative director Casey Cadwallader presents an ambitious prelude to the Spring Summer...
A cool Mediterranean breeze blows on the Ermanno Scervino Resort 2021 collection, adding a new allure to the harmonious contrasts...
Balmain Pre-Fall 2020 women's collection
Discover Balmain's Pre-Fall 2020 women's collection! For this occasion Olivier Rousteing, emblematic Creative Director of the French...
Gucci Epilogue 2021: Alessandro Michele's homage to Gucci in the 70s
A message about leaving behind fashion's old rules, Epilogue is Alessandro Michele's collection, which is also his experiment....
Simplification is an amplifying act. By reducing shapes to an elementary outline, letting material speak through color and texture...
Limitless creativity and sophistication are at the heart of the Chanel Fall-Winter 2020/21 Haute Couture collection, as imagined...
On Monday, June 8, Chanel digitally unveiled the 2020-2021 Cruise Collection, which had initially been scheduled to show...
Atelier Versace Spring 2020 collection
Drawing from the contrast of the classical and modern, Atelier Versace Spring 2020 collection fuses influences ranging from...
Tod's Fall 2020 Menswear collection
On January 12th in Milan, Italian fashion house Tod's unveiled Fall Winter 2020 Menswear collection. This collection presents...
Zadig & Voltaire Spring 2020 lookbook
Discover Zadig & Voltaire's Spring/Summer 2020 women's lookbook, in which Cecilia Bonstrom continues to explore the rock'n'roll...
Gucci Pre-Fall 2020 collection lookbook
In many ways, Gucci's Spring 2020 show presented a turning point for Alessandro Michele, who created more mainstream-oriented...
Alexander McQueen Pre-Spring 2020 collection lookbook
Alexander McQueen Pre-Spring 2020 collection is joyful, inspired by the radiant color and fragile beauty of nature. Endangered...
Givenchy Resort 2020 Lookbook
Givenchy presents its Resort 2020 collection in a lookbook inspired by Clare Waight Keller's frequent travels and busy...
Delpozo presents the Fall Winter 2019 Collection
For Fall Winter 2019, Delpozo's atelier presents a pure and clean collection for the modern-day woman. The collection transforms...
Delpozo Pre-Fall 2019 Collection Lookbook
Delpozo embraces time-honored couture techniques with a modern sensibility to create unique and feminine pieces for the contemporary...
Possible Feelings: The Prada Fall 2021 Menswear collection
The Prada Fall/Winter 2021 Menswear collection by Miuccia Prada and Raf Simons takes...
Chanel Le Lift Lotion: A targeted anti-aging action
Lotions are the prelude to every beauty ritual and are fundamental for radiant skin....
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Starting this year, actor Chris Hemsworth, best known for his role as Thor, will...
Each year since its creation in 2013, the LVMH Prize for Young Fashion Designers...
Loewe x My Neighbor Totoro capsule collection
Inspired by Hayao Miyazaki's film masterpiece My Neighbor Totoro, the latest capsule...
Louis Vuitton Winter 2020 campaign
Louis Vuitton presents the latest Women's campaign, directed and photographed by Nicolas...
Prada Spring 2021 campaign
Contemporary life is shaped by technology. It has radically redefined our perspective...
Saint Laurent Summer 2021 campaign by Gaspar Noe
After the success of "Lux Aeterna" at the Cannes Film Festival in 2019, Anthony...
Look of theDay
Copyright 2010. Vesna Filipović


text:
АПК () —російський футбольний клуб з міста Морозовськ.

Хронологія назв
 1969—1989: «Промінь» (Азов)
 1990—1993: АПК (Азов)
 1994—1998: АПК (Морозовськ)

Історія
Футбольний клуб «Промінь» було засновано в 1969 році в місті Азов. У 1988 році команда дебютувала в групі 3 Другої ліги чемпіонату СРСР, в якій виступала до 1989 року. У 1990 році клуб змінив назву на АПК (Азов) й виступала в Другій нижчій лізі СРСР. У 1991 році колектив повернувся до Другої ліги центральної зони.

У чемпіонатах Росії клуб стартував у Першій лізі, група «Захід», в якій виступав протягом двох сезонів. У 1994 році клуб переїхав до Морозовська й під назвою АПК (Морозовськ) виступав в аматорському чемпіонаті Росії. У 1995-1996 роках виступав у Третій лізі, група 2. Після цього знову виступав в аматорському чемпіонаті Росії.

Досягнення
  Друга ліга СРСР, зона «Центр»
 16-е місце (1): 1991

  Перша ліга Росії, група «Захід»
 14-е місце (1): 1992

  Кубок Росії
 1/32 фіналу (1): 1994

Статистика виступів

Відомі гравці

  Олександр Балахін
 / Володимир Бенедський
  Ігор Братчиков
 / Раміль Валєєв
  Володимир Гаврилов
  Роман Гапотій
  Юрій Гарін
  Олексій Герасименко
  Олександр Зеленський
  Олександр Іванов
  Сергій Іванов
  Юрій Ковтун
  Віктор Концевенко
 / Володимир Лінке
  Вадим Логунов
  Руслан Лящук
  Валерій Матюнін
  Марат Манибаєв
  Сергій Окунєв
  Віталій Пападопуло
  Геннадій Паровін
  Микола Романчук
  Володимир Сафроненко
  Сергій Селін
 / Євген Сідоров
  Євген Сонін
  Олег Сумцов
  Іван Теплов
  Тагір Фасахов
  Володимир Філатов
  Сергій Чуйченко
  Олександр Чумаков
  Юрій Чуркін
  Юрій Шаталов
  Володимир Щербак
  Віктор Щиров
</div>

Посилання
 Профіль клубу на сайті footballdatabase.eu
 Профіль клубу  на сайті wildstat.ru
 Профіль клубу  на сайті footballfacts.ru
 Профіль клубу  на сайті teams.by

Футбольні клуби Росії
Футбольні клуби, засновані 1969
Футбольні клуби, розформовані 1998
Морозовськ
Ростовська область
Футбольні клуби СРСР

redpajama_set_name: RedPajamaWikipedia


Flock of Dimes (aka Wye Oak's Jenn Wasner) is putting out a new album, If You See Me, Say Yes, on September 23 via Partisan. (The album is currently streaming via NPR's First Listen.) Thor Harris of Swans has a new band called Thor & Friends, who are putting out a new album on October 7. The two bands came together at Harris's house in Austin, Texas recently to perform songs from the upcoming Flock of Dimes album. Below, watch their performances of "Everything Is Happening Today" and "Semaphore," via Pitchfork.tv. And tune in to Pitchfork Radio at 2 p.m. today to hear two more songs from the session.
Earlier this year, my friend Thor sent me the results of his latest creative endeavor—a record from a band he was calling Thor and Friends. At the time, I was still knee-deep in my own record-making process, and was exhausted by the sound of my own voice. The record that Thor sent me became a constant presence in my life after that. I became so attached to it that I asked Thor if he and his aforementioned friends might be willing to spend some time with me, reimagining some of the songs on my forthcoming record. And so—lucky me—I got to spend a few days in Austin with these talented, kind, creative people, breathing new life into a group of songs that I had already lived with for years.


We depart for all activities with a pickup from your hotel and moving to to Sarasin Bridge to visit the cave temple (monkey temple), the mini zoo of the animals conservation project.
Enjoy river trekking on elephants and the baby elephants show. In the mean while you will experience sightseeing pineapple plantations, bananas and rubber palms, taking a break enjoying soft cakes and soft drinks. You will enjoy the delicious Thai lunch and ready to experience nature by bamboo rafting.
You will be swimming at the waterfalls and visiting the turtle and sea marine conservation museum. Returning back to Phuket we will stop to local fruit shops and than back to your hotel.
Khao Lak Nation Park Safari tour is a full day trip and is a unique experience to see and enjoy one among the largest and most fauna diverse tropical rain forest in the Southern Thailand Regions, to enjoy the bamboo rafting down Khao Lak River, to enjoy this forest which is certainly one of most popular natural attractions among Thai and foreign tourists.
You will be having great fun admiring the shining rain forest with local and very rare species of flora and fauna. You will be able to relax and enjoy the peaceful atmosphere of the forest waterfalls and of course you will relax in deep contact and great company with the Elephants and the baby Elephants. We will also take a visit together to the Wat Suwannakhuha, here you can see the wonderful giant reclining golden Buddha. Round-trip hotel transportation is included.


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Underrated '86 - Rik Tod Johnson
Rik Tod Johnson is a dedicated cinephile who can be found writing at The Cinema 4 Pylon:
www.cinema4pylon.blogspot.com
Here is an Underrrated '96 list he did for RPS as well:
http://www.rupertpupkinspeaks.com/2016/03/underrated-rik-tod-johnson.html
He can be found on Twitter @TheCinema4Pylon:
https://twitter.com/thecinema4pylon
Dir.: Jim Jarmusch
When I walked into the Capri Cinema in 1985 and saw Jim Jarmusch's Stranger Than Paradise, I had no idea what I was in for and just how elated I would ultimately be when I left the tiny independent Anchorage theatre at the film's end. While, at that point in my youth, I had already opened myself up to the worlds of Lynch and Cronenberg -- which often existed in buzzing discomfort slightly outside of our reality -- Jarmusch's off-kilter scenes served to make his work seem to me to be at least a spiritual cousin to those filmmakers, but his characters were far more recognizably within our own world. I fell instantly in love with Stranger Than Paradise, and saw it several times over in a very brief span. When his follow-up film, Down by Law, came to the same theatre the next year, I was there the first showing. And I wasn't sorry. I was listening to a lot of Tom Waits in those years, and was gleeful that Jarmusch had added the theatrically focused singer-songwriter to his stock company of actors, alongside Stranger star, musician John Lurie. A leisurely road comedy about three escaped prisoners, Down by Law's third star was a then largely unknown (in America) Roberto Benigni. Benigni took me completely by surprise; with his fractured English and odd delivery, I thought his act was a total put-on, but I was laughing so hard that I absolutely bought into it regardless of intentions. When Roberto returned a few years later in Jarmusch's Night on Earth as a cab driver, I was delighted (especially since he is the best part of that film). But it wasn't until I saw Johnny Stecchino later that same year (1991) that I began to realize the breadth of his talent. Outside of my then-friend (who shall remain forever nameless) with whom I first devoured Stranger Than Paradise, I never had much success in getting others to commit to Jarmusch's minimalist, character-driven style at the time. I took a few friends to another showing of Down by Law, and they each seemed underwhelmed by the film. Over the years, I have found that some friends have taken to his later films (Ghost Dog: Way of the Samurai, Coffee and Cigarettes), but I wish they would seek out his early films and hopefully capture the same joy that I did when I first encountered his undeniably odd work.
Dir.: Julian Temple
I recently watched Absolute Beginners again for the first time in several years, and I must admit that for the first half hour or so, it seemed that the love that I once had for the film had dissipated. While the movie is widely considered to be a failure at the box office, after I saw it in the theatre for the first time in 1986, I dragged a group of friends to it the next day, and another group later that week. So I did my part in selling tickets to it. No one seemed to love or even like it as much as me -- which is not unusual in my main gang; we often have splits of this nature: my reckless weaving through all of cinema and their preference for more mainstream entertainment -- and maybe they were right about not embracing it. But I found so much to adore at the time. I just had to own the soundtrack LP (it did have Bowie, Paul Weller, Slim Gaillard, and Ray Davies on it after all), and I fell instantly in love with blonder than blonde Patsy Kensit as the adorable but unfaithful Crêpe Suzette. The movie was loud and vibrant and flashy, with several meticulously designed set pieces, and taken on its own terms is a marvelous construct (if not film) to behold. Even if the tone of the thing is all over the place, sometimes in the same scene, Temple's direction and the score at least ensured that the eyes and ears would be pleased. To its detriment though, the film version of Absolute Beginners is also deeply and thoroughly superficial, something that I totally got at first glance but chose to ignore in order to enjoy its snazzy, jazzy trappings. A couple of years later, I finally read Colin MacInnes' source novel, and realized just how much more vibrant the story was on the written page. But the book didn't have Bowie, Weller, Gaillard, or Davies, and so in my heart and head, I stuck with A.B.: The Movie Version. On the recent watch, the superficiality nagged at me harder that first half hour or so, but eventually the energy of the film burned that attitude away from me, and I came to an understanding within myself that, sure, it may not be the book, but it is simply a stunning film on a visual level. Another bonus is that Beginners also very dark and quick-witted, so if you need something else to propel you through this twisted look at late '50s British teen pop culture, let the humor guide you inside, and then stay to discover that there is something rather frightening lurking in the back end of the film ("If you go out in the woods today...") that surprised me completely that first time and still hits me hard today.
X: The Unheard Music
Dir.: W. T. Morgan
If you are a fan of the L.A. punk scene from the late '70s and early '80s, then you know the band X. I am not necessarily a fan of the scene itself (I didn't grow up down here, and I was anything but a punk in style and stance), but even trapped in Alaska as a teenager/young adult, I knew X. While, to this day, I enjoyed the noise and snarl of hardcore punk, what appealed to me about X were their depth and far more humanist lyrical approach than most bands of their time. Not content to simply yell angrily about a perceived sleight by society or problem in the world, X often drew sharply delineated character portraits whose lives were either shattered or transformed by such sleights and problems. For me, the great difficulty was that I lived in a place where X never got close to touring, so I didn't have a chance to see them live during their heyday. But I eventually did get to watch, belatedly as it were (and on cable nonetheless), this 1986 documentary, giving me not only an up close and personal look with each equally charismatic member of the band (though co-lead singer Exene remains the most enigmatic of the bunch), but also around numerous live performances of songs from their early catalogue. There is no attempt to give us a by-the-numbers biography of X; the approach is, in the DIY style of a '70s punk 'zine, rather cut-and-paste, jumping both nervously and casually from moment to moment, sped up, slowed down, mixed up with film clips, poetry readings, fan letters, and oddball street interviewees, and the film is all the better for it. Sure, you could say X as a band sold out a bit as the mid-'80s beckoned (Wild Thing cover version anyone?) -- though I didn't really care what anyone said; I still loved them -- but the early X (at least through those first four vital albums) was a barnburner of a band by anyone's measure. We are fortunate to have this document of those days.
Dir.: Tobe Hooper
This is going to sound borderline blasphemous to horror fans, but in some ways, I prefer Tobe Hooper's sequel to his own 1974 classic featuring Leatherface and his murderous, weirdo family. Assuredly, I am a huge fan of the original Chainsaw (my gorehound pals and I used to be able to refer to it as just Saw, until an actual film with that title came along years later). And there is a huge difference in tone between the original and this far too belated sequel. But man, what a crazy, hilarious ride Chainsaw 2 is! Honestly, after having seen the original around thirty times before seeing this in a theatre, I had no hope in my heart at all that it would even be any good. And then I laughed my ass off like mad for ninety minutes (with the film, not at it) and then walked out of the theatre going, "What just hit me?" Naturally, I turned back around and watched it again right away. In one of the most fortuitous casting choices ever, Dennis Hopper shows up as a former Texas Ranger decidedly obsessed with solving the murders. Hopper was involved in one of the greatest comeback years in show business in 1986; his other films included Blue Velvet, Hoosiers (for which he would get an Oscar nomination), and River's Edge. So, Chainsaw 2 probably felt like the odd film out to him, but of the four films, this is my second favorite of his roles. His job here is equally as unhinged as Frank Booth in Velvet, only on the other side of the moral divide and without (I presume) the use of pharmaceuticals, and Hopper gets to deliver some marvelously gonzo dialogue at the top of his lungs as he does chainsaw battle with the various members of the family. Best, and creepiest, of all though is Bill Moseley as Chop Top, brother to Leatherface, and a Vietnam vet who scratches his metal-plated head with a wire hanger and devours bit of his own flesh, while saying grand lines like, "Look what you did to my Sonny Bono wig-do!" Chainsaw 2 has its adherents, even at the time though the film did only OK at the box office, though the critics of the day were not kind overall. That critical view has shifted to the positive today, but I still feel the film has somewhat slipped between the cracks over the years. And that is a shame. Sure, Chainsaw 2 could never have the shock of the new, but as a horror film with deeply satirical roots, it is a fine, gory, goony time on its own terms.
Dir.: Oliver Stone
Hugely overshadowed by Stone's other 1986 theatrical release, Platoon, Salvador never got the shake it deserved. I feel it is a better film overall than Platoon, buoyed by a balls-to-the-wall performance by an even more nervy than usual James Woods. Salvador is solid proof that a film that has been nominated for multiple Academy Awards (for lead actor and original screenplay) can still be considered "underrated". Naturally, in a film where the side opposing U.S. interests in the region are comprised of left wing revolutionaries, Stone is going to align with the rebels. So if you are prone to simply write him off for his personal political stance... well, then we have little to speak of together. And you would then be missing out on an exceedingly powerful film. In 1986, as a young twenty-something, I kept an uneasy eye on the news, knowing full well that our government was hand-stroking a great many countries (often aligned with dictators and despots, it turns out, in ways that seems to go against our country's stated ethics and aims). I remember the news reports on the four American nuns who were raped and murdered by El Salvadoran national guardsmen (you know, part of the regime that we were supporting), and the controversy over America's goals in the region. I thought for sure that at any moment they were going to open up the draft again. Those murders are a key aspect of Salvador's plot, a fictionalized version of real-life journalist Richard Boyle's yearlong (1980-81) ordeal in the country. When Salvador came out, it was almost the type of movie that I automatically wished to avoid, simply because I found the subject matter uncomfortable. But it had Woods in it, then one of my favorite actors (I still love him onscreen, but he is, in the vernacular, seriously cray-cray). I did not want to miss a single film of his, so I just had to go to Salvador, and I was blown away by it. But the film received little love at the box office, even with the Oscar noms, and most people with whom I have discussed it have never seen the film. It has been years since I last watched Salvador (probably about twenty), but most of the imagery has never left me. Haunting and nerve-wracking.
Dir.: Alan Rudolph
"Greed, like fire, transforms." It was strange then; it is strange now. Alan Rudolph's films have always been slightly off the Hollywood track, and Trouble in Mind is further off than most of his output. I saw the film at exactly the right time and in the right mood, when I was still developing an addiction for fare that didn't necessarily follow the "movie rules," or was at least willing to turn them onto their heads. This one solidified Rudolph in my mind as a filmmaker to whom I would return time and again (at least for a few years). Time, setting, characters... they are all fluid here. Is it the '40s (the Mark Isham soundtrack, featuring Marianne Faithfull's croaking but gloriously entrancing rasp, seems to point that way at first), the '70s (the cars, the initial costuming), or the slightly futuristic (though never science fiction-style) '90s? Or is it all three? Does time matter at all here? The city (played by Seattle, but also by a purposefully obvious scale model) is portrayed as a ravenous monster that turns nearly everyone against their better nature once they walk onto its streets. The hero is a cop who outright murdered someone, and feels no remorse at all for his actions (and he's a little "rape-y" to boot). But he is also the calm, all-seeing center of the storm. Seemingly ordinary, straight edge characters suddenly start dressing, fixing their hair, and wearing makeup like members of a new wave band. There are also a couple of tonal shifts that seem out of place, but are absolutely vital to the film's maintenance of its overall oddness. Best of all, the main villain is played by Divine, whose quick-tongued but ultimately scary performance here makes you lament his early passing all the more. The main cast -- Kris Kristofferson, Keith Carradine, Geneviève Bujold, Lori Singer, Joe Morton -- give us no more than we expect from them (and this is not a knock), but they all seem cooler for just hanging out at Rudolph's strange, noir-driven party. [Note: Trouble in Mind's copyright is 1985, but was not released to theatres until 1986, which is when I saw it.]
And to provide a base, here is a list of my other favorite films of 1986 (none of which, I feel, are underrated at all): Blue Velvet, The Fly, Aliens, Castle in the Sky, Big Trouble in Little China, Henry: Portrait of a Serial Killer, Stand by Me, Sid and Nancy, Something Wild, Manhunter, Ruthless People.
Labels: cult movies, rik tod johnson, underrated '86
WorkingDead said...
Another great list that pretty much doubles as a list of things I'll be tracking down over the next couple weeks. Surprisingly, or, really, no surprisingly, I've only seen 2 of the films on this list, and the others are instantly higher on my priorities list.
The Movie Waffler said...
Had IMDB not listed it as 1985, Trouble in Mind would have topped my list too.
Rik Tod Johnson said...
Trouble in Mind indeed premiered in LA in December 1985, it was not released to theatres nationwide until March of 1986. As the film is tied completely to the year 1986 for me due to other outside circumstances, I have to consider it as being from that year.
Twilight Time - ROLLERBALL and THE HOUND OF THE BA...
New Release Roundup - June 28th, 2016
Underrated '76 - Gems from Forty Years Ago!
Underrated '86 - Sarah Jane
Underrated '86 - Sean Whiteman
Underrated '86 - Matt Bourjaily
Underrated '86 - Aaron West
Underrated '86 - Mike Flynn
Underrated '86 - Dave Wain
Arrow Video - RETURN OF THE KILLER TOMATOES and SU...
New Release Roundup - June 21st, 2016
Olive Films - CORNBREAD, EARL AND ME, IF IT'S TUES...
Underrated '86 - Joe Yanick
Kino Lorber Studio Classics - BACK ROADS and WHO I...
Underrated '86 - Josh Obershaw
Criterion Collection - FANTASTIC PLANET on Blu-ray
Shout Factory - ROLLERCOASTER and TWO-MINUTE WARNI...
Twilight Time - INSERTS and THE PANIC IN NEEDLE PA...
Underrated '86 - Jason Chirevas
Underrated '86 - John Gholson
Underrated '86 - Dean Treadway
Underrated '86 - Arik Devens
Scream Factory - THE CRUSH on Blu-ray
Kino Lorber - 99 RIVER STREET and THE CHASE on Blu...
Underrated '86 - Jim Hemphill
Underrated '86 - Dale Lloyd
New Release Roundup - June 7th, 2016
Underrated '86 - James McCormick
Warner Archive - James A. Fitzpatrick TRAVELTALKS ...
Underrated '86 - This Cinematic Life
Underrated '86 - Brandon Smith
Underrated '86 - John Berry
Kino Lorber Blu-ray Sale


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Q: How to use a lambda operation input in a function parameter? To be honest, I am not even sure how to correctly phrase the question.
I want to write a function which can accept a lambda operation i.e. (x -> x + x) as a parameter which is then applied to each entry of a list. This task is from the F# - Accumulate task by exercism.io.
As I did not find any example of this kind of function input, I have no idea how I can use this lambda input.

A: Higher-order functions
A function that accepts a lambda as a parameter is called a "higher-order function". These are very common in functional programming. Here's a simple example called apply, which is a higher-order function that takes another function (or lambda) called f and applies it to a value x.
// ('a -> 'b) -> 'a -> 'b
let apply f x = f x

List.map
Any higher-order function that applies a given function to every element of a collection is called a "map". For lists, the specific function you want is called List.map, and is already provided by the F# standard library.
Implementing your own map function
If you're not allowed to use the built-in List.map for this exercise, you can implement the same thing yourself easily via recursion. I don't want to give away the solution prematurely, so I'll describe it in pseudo-code first:

*

*Given a function f and a list of items:

*

*If items is empty, return the empty list

*Else items is not empty:

*

*Let value be the result of applying f to the first element of items

*Let rest be the result of recursively mapping f to the remainder of the items

*Return a new list that consists of value followed by rest.

Hint: Use pattern matching to convert this into F# code.
Solution

 let rec mymap f items =
     match items with
         | [] -> []
         | head :: tail ->
            let value = f head
            let rest = mymap f tail
            value :: rest

Note: This is a verbose implementation. If desired, you can make it considerably smaller.


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Home » Blog » Exxon AGM & Shell ruling major victories for climate activists
Exxon AGM & Shell ruling major victories for climate activists
ExxonMobil and Royal Dutch Shell face significant change after victories for climate activists this week.
Activist hedge fund Engine No 1 gained shareholder backing to install two new board members at Exxon at its annual meeting on 26 May. The two directors are the first in the history of ExxonMobil to not be directly appointed by the company.
Exxon CEO Darren Woods said in a statement that the oil major was "well positioned" to respond to investors' demand for action on climate change risks and the transition to a low-carbon economy. A notable statement after increased pressure from investors in recent years.
The two nominees elected – out of four put forward by Engine No 1 – are Gregory Guff, a former executive at Marathon Petroleum, and Kaisa Hietala, a former Neste Oyj executive. Each are expected to disrupt the insular culture of the ExxonMobil board, with Guff known for his prudent risk taking and Hietala supporter of renewables.
A third Engine No 1 nominee, Alexander Karsner, was still in the running for one of the two remaining positions with votes still being counted as of 26 May, Exxon said.
On its website, the hedge fund states: "The energy industry and the world are changing. To protect and enhance value for shareholders, we believe ExxonMobil must change as well. We believe that for ExxonMobil to avoid the fate of other once-iconic American companies, it must better position itself for long-term sustainable value creation."
Following the AGM, Woods said: "We've been actively engaging with shareholders and received positive feedback and support, particularly for our announcements relating to low-carbon solutions and progress in efforts to reduce costs and improve earnings.
"We heard from shareholders today about their desire to further these efforts, and we are well positioned to respond."
Meanwhile, a Dutch court has ordered Royal Dutch Shell to take stronger action to tackle its carbon footprint by reducing net emissions by 45% by 2030. This goal is compared to 2019 levels on an absolute basis in line with the goals of the 2015 Paris Climate Agreement.
The company's initial plan was to cut the carbon intensity of its fuel products by 20% by 2030, and to target net-zero emissions by 2050.
However, the judge in the district court in The Hague ruled that Shell had violated a duty of care obligation in relation to the human rights of people affected by climate change.
The case was brought by the Netherlands arm of Friends of the Earth, Milieudefensie. Shell has already pledged to appeal the ruling.
Thom Wetzer, head of the sustainable law programme at Oxford University, told the Financial Times that the ruling was "legally, economically and societally" significant. He claimed that "all companies in the energy industry and all heavy emitters will be put on notice" following the result of the case.


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Category Archives: Montage Songs
The Montage Song
So far, I have talked mostly about the kind of songs, which are character related. But there are also songs which mostly work as a narrating device. They are often (but not always) sung from the off and can roughly fulfil three different functions: World building, emotional insight and compressing time. Today, I want to write about the last variant: The montage song.
A montage is a very handy device whenever a movie wants to show development over a longer time-span in a short time. Usually a montage is paired with music and/or narration, but there is also the option to take it on the next level and use a song. This has the advantage that the song (unlike the narration) doesn't have to describe directly what happens on screen or voice the opinion of the narrator. Instead it can serve as some sort of comment.
The most well-known montage song in Disney canon has to be "I'll Make a Man Out of You". But to understand this song on all levels, one has to see it in connection with the other songs from the movie, so let's talk toady about one, which often gets overlooked: Treasure Planet's "I'm still here". It is the only song of the movie, and played during one of it's stand-out moments. The montage in this case has three purposes: Giving the audience the sense of a long travel, showing how the relationship of Silver and Jim develops and giving a glimpse in Jim's soul by showing his traumatic memories of the days his father left him. The song mostly connects to the last aspect, expressing Jim's inner turmoil.
I am a question to the world
Not an answer to be heard
Or a moment that's held in your arms
And what do you think you'd ever say
I won't listen anyway
And I'll never be what you want
Me to be
All of Jim's defiance is in those lines. He doesn't want to listen because he feels that the people judge him without really knowing him. He wants to be his own person instead of trying to fit in.
And what
Do you think you'd understand
I'm boy, no, I'm a man
You can't take me
And throw me away
Can you learn what's never shown
Yeah, you stand here on your own
They don't know me
'Cause I'm not here
In those lines are all the sense of abandonment. Jim, now in the difficult age between boy and man, has been left behind too often. He is feeling alone, but he is also not ready to trust anyone at this point. And why should he, more or less everyone is basically telling him that he is a looser.
And I want a moment to be real
Want to touch things I don't feel
Wanna hold on and feel I belong
And how can the world want me to change
They're the ones that stay the same
Fittingly, the montage shows at this point Jim watching the crew in a gathering, while he is sequestered away in a corner. He is still an outside, but the wish to belong is growing in him. But he is not reaching out because he is well aware of his status as an outsider.
And you see the things they never see
All you wanted – I could be
Now you know me
And I'm not afraid
And I want to tell you who I am
Can you help me be a man
They can't break me
As long as I know who I am
This is the sequence which shows how Silver slowly develops a true interest in Jim, and Jim slowly starting to trust him. The lyric expresses Jim growing self-confidence. At this point, it doesn't matter if others think that he is a looser, because he knows that he isn't one. And as long as he has this knowledge, he won't be one.
They can't tell me who to be
'Cause I'm not what they see
Yeah, the world is still sleepin' while I keep on dreaming for me
And their words are just whispers and lies that I'll never believe
Jim's father leaving is here shown as the reason for his deep-seated distrust in other people.
And how can you say I'll never change
I'm the one now
'Cause I'm still here
I'm the one
Even the lyrics express the change in Jim's psyche during the travel. At the beginning, it was "They don't know me, 'Cause I'm not here", now it is "I'm the one, 'Cause I'm still here". Jim has grown up, developed a sense for himself, and he is ready to take on the world, no matter what people are thinking about him.
All in all, this is one of the most complex constructs for a montage song I know, and it works on every level. The visuals go perfectly with the lyrics, and together they allow a deep understanding for Jim and his relationship to Silver, and that without having to spell it out for the audience. Even if you don't like the movie as a whole, this sequence is certainly worth to pay attention to.
7 Comments	| tags: Disney, Treasure Planet	| posted in Montage Songs, Systematic of Songs


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Home Politics Democrats
The Democrats are about to go to war… with each other
in Democrats, Opinions, Politics
On the surface, Speaker of the House Nancy Pelosi appears to be a woman in control of her caucus and the entirety of the House of Representatives. She has remained focused on her goal of thwarting anything and everything the Republicans try to do and has been the primary target of her presumed nemesis, President Trump.
Behind the scenes, it's a very different story. Pelosi is under siege in ways she may not even be fully aware of as the handpicked minions of the Justice Democrats continue to exert their will on the party by making headlines and stirring up controversy. Representatives Alexandria Ocasio-Cortez (D-NY) and Ilhan Omar (D-MN) take turns being the head of the spear, but supporting actors like Representatives Rashida Tlaib (D-MI), Ayanna Pressley (D-MA), and Ro Khanna (D-CA) are also working on headlines and calling out their colleagues in power for their party.
Pelosi took a jab at them last night on 60 Minutes by belittling AOC and her group, saying "that's like five people." This is the attack that will get most of the headlines, but it's what she said shortly afterwards that will be considered the real fighting words for the hyper-leftist radical progressives in the party. Here is the important question from Leslie Stahl and answer by Pelosi:
Lesley Stahl: Well, Medicare for all– it's not only being pushed by some members of your caucus, but also some of the presidential candidates. And it is allowing the president to say you're all socialists.
Speaker Nancy Pelosi: Do you know that when we did Med– when Medicare was done by the Congress at the time, under Lyndon Johnson, Ronald Reagan said, Medicare will lead us to a socialist dictatorship. This is– this is an ongoing theme of the Republicans. However– I do reject socialism as an economic system. If people have that view, that's their view. That is not the view of the Democratic Party.
As the Justice Democrats have stated, they know the Democratic Party isn't ready for full-blown socialism. That's what they're trying to achieve, the fundamental change of the Democratic Party and eventually of America as a result. This answer by Pelosi is all the reason AOC and her posse need to start getting more aggressive against the moderate Democrats in leadership.
In fact, they've already been doing it. Tlaib launched an attack against the leaders in her party by saying they were only using the women of color in the caucus as tokens of diversity.
They put us in photos when they want to show our party is diverse. However, when we ask to be at the table, or speak up about issues that impact who we are, what we fight for & why we ran in the first place, we are ignored. To truly honor our diversity is to never silence us. https://t.co/7T1OlwS1YG
— Rashida Tlaib (@RashidaTlaib) April 13, 2019
Unfortunately for Pelosi, the evidence can be spun to make this seem very correct. In reality, freshmen in Congress are usually treated this way until the can demonstrate their loyalty to the party, an ability to win reelection, and a willingness to back leadership. That's the politics within the political games played in Washington DC under normal circumstances. But there's nothing normal about the Justice Democrats or their puppets on Capitol Hill. They are outspoken. They are aggressive. They want it all now and they're very capable of scolding the whole world through social media and with radical declarations in their statements.
And the radical base of the Democratic Party is eating it all up.
Pelosi has quietly tried to stifle the youngsters and put them in their place. She also tried to dissuade upheaval from within by having the Democratic Congressional Campaign Committee (DCCC) blacklist any vendors who worked with primary challengers. Ocasio-Cortez, who famously beat long-time incumbent Joe Crowley to win her own nomination, lashed out against the plan.
The @DCCC's new rule to blacklist+boycott anyone who does business w/ primary challengers is extremely divisive & harmful to the party.
My recommendation, if you're a small-dollar donor: pause your donations to DCCC & give directly to swing candidates instead.
Some great ones:
— Alexandria Ocasio-Cortez (@AOC) March 30, 2019
Some might try to compare this to the Tea Party movement that helped the GOP win control of the House and Senate in 2010 and 2014. This really isn't anything like it because the Justice Democrats have direct and intimate contact with their puppets on Capitol Hill. They are coordinated and unflinching; you won't see a single one of them act like Senator Marco Rubio (R-FL) when he abandoned the Tea Party and joined the Gang of 8 a year and a half after getting elected.
No, this new breed of hyper-leftists have no intention of playing politics. They're trying to redefine politics, to mold Capitol Hill in the image the Justice Democrats have planted in their heads. It's the image that these New Democrats are spreading across the base to the point nearly every 2020 Democratic candidate for President is veering as far to the left as possible.
One of two things will happen. Either Pelosi will get a hold of the reins and keep control of the majority of her party or the Justice Democrats will be able to steer their people while recruiting more until they have complete control of the Democratic Party going forward. If I'm placing bets, I'd put my money on the latter.
On one side, you have the group what we've always called radical progressives. On the other side, you have the group that makes Pelosi and the rest of Democratic leadership look like mushy moderates. Grab your popcorn, folks. This is going to get ugly.
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Tags: Alexandria Ocasio-CortezAOCAyanna PressleyDCCCDemocratic Congressional Campaign CommitteeElection 2020FeaturedIlhan OmarJustice DemocratsNancy PelosiRashida TlaibRo KhannaTop Story
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