text:
template <class T>
struct signed_assert_nonnegative
{
    static void test(T x) { BOOST_TEST(x >= 0); }
};

template <class T>
struct unsigned_assert_nonnegative
{
    static void test(T x) {}
};

template <class T>
struct assert_nonnegative
  : boost::mpl::if_c<
        std::numeric_limits<T>::is_signed
      , signed_assert_nonnegative<T>
      , unsigned_assert_nonnegative<T>
    >::type
{
};
#endif

// Special tests for RandomAccess CountingIterators.
template <class CountingIterator, class Value>
void category_test(
    CountingIterator start,
    CountingIterator finish,
    Value,
    std::random_access_iterator_tag)
{
    typedef typename
        boost::detail::iterator_traits<CountingIterator>::difference_type
        difference_type;
    difference_type distance = boost::detail::distance(start, finish);

    // Pick a random position internal to the range
    difference_type offset = (unsigned)rand() % distance;

#ifdef BOOST_NO_LIMITS_COMPILE_TIME_CONSTANTS
    BOOST_TEST(offset >= 0);
#else
    assert_nonnegative<difference_type>::test(offset);
#endif

    CountingIterator internal = start;
    std::advance(internal, offset);

    // Try some binary searches on the range to show that it's ordered
    BOOST_TEST(std::binary_search(start, finish, *internal));

    // #including tuple crashed borland, so I had to give up on tie().
    std::pair<CountingIterator,CountingIterator> xy(
        std::equal_range(start, finish, *internal));
    CountingIterator x = xy.first, y = xy.second;

    BOOST_TEST(boost::detail::distance(x, y) == 1);

    // Show that values outside the range can't be found
    BOOST_TEST(!std::binary_search(start, boost::prior(finish), *finish));

    // Do the generic random_access_iterator_test
    typedef typename CountingIterator::value_type value_type;
    std::vector<value_type> v;
    for (value_type z = *start; !(z == *finish); ++z)
        v.push_back(z);

    // Note that this test requires a that the first argument is
    // dereferenceable /and/ a valid iterator prior to the first argument
    boost::random_access_iterator_test(start, v.size(), v.begin());
}

// Special tests for bidirectional CountingIterators
template <class CountingIterator, class Value>
void category_test(CountingIterator start, Value v1, std::bidirectional_iterator_tag)
{
    Value v2 = v1;
    ++v2;

    // Note that this test requires a that the first argument is
    // dereferenceable /and/ a valid iterator prior to the first argument
    boost::bidirectional_iterator_test(start, v1, v2);
}

template <class CountingIterator, class Value>
void category_test(CountingIterator start, CountingIterator finish, Value v1, std::forward_iterator_tag)
{
    Value v2 = v1;
    ++v2;
    if (finish != start && finish != boost::next(start))
        boost::forward_readable_iterator_test(start, finish, v1, v2);
}

template <class CountingIterator, class Value>
void test_aux(CountingIterator start, CountingIterator finish, Value v1)
{
    typedef typename CountingIterator::iterator_category category;
    typedef typename CountingIterator::value_type value_type;

    // If it's a RandomAccessIterator we can do a few delicate tests
    category_test(start, finish, v1, category());

    // Okay, brute force...
    for (CountingIterator p = start
             ; p != finish && boost::next(p) != finish
             ; ++p)
    {
        BOOST_TEST(boost::next(*p) == *boost::next(p));
    }

    // prove that a reference can be formed to these values
    typedef typename CountingIterator::value_type value;
    const value* q = &*start;
    (void)q; // suppress unused variable warning
}

template <class Incrementable>
void test(Incrementable start, Incrementable finish)
{
    test_aux(boost::make_counting_iterator(start), boost::make_counting_iterator(finish), start);
}

template <class Integer>
void test_integer(Integer* = 0) // default arg works around MSVC bug
{
    Integer start = 0;
    Integer finish = 120;
    test(start, finish);
}

template <class Integer, class Category, class Difference>
void test_integer3(Integer* = 0, Category* = 0, Difference* = 0) // default arg works around MSVC bug
{
    Integer start = 0;
    Integer finish = 120;
    typedef boost::counting_iterator<Integer,Category,Difference> iterator;
    test_aux(iterator(start), iterator(finish), start);
}

template <class Container>
void test_container(Container* = 0)  // default arg works around MSVC bug
{
    Container c(1 + (unsigned)rand() % 1673);

    const typename Container::iterator start = c.begin();

    // back off by 1 to leave room for dereferenceable value at the end
    typename Container::iterator finish = start;
    std::advance(finish, c.size() - 1);

    test(start, finish);

    typedef typename Container::const_iterator const_iterator;
    test(const_iterator(start), const_iterator(finish));
}

class my_int1 {
public:
  my_int1() { }
  my_int1(int x) : m_int(x) { }
  my_int1& operator++() { ++m_int; return *this; }
  bool operator==(const my_int1& x) const { return m_int == x.m_int; }
private:
  int m_int;
};

class my_int2 {
public:
  typedef void value_type;
  typedef void pointer;
  typedef void reference;
  typedef std::ptrdiff_t difference_type;
  typedef std::bidirectional_iterator_tag iterator_category;

  my_int2() { }
  my_int2(int x) : m_int(x) { }
  my_int2& operator++() { ++m_int; return *this; }
  my_int2& operator--() { --m_int; return *this; }
  bool operator==(const my_int2& x) const { return m_int == x.m_int; }
private:
  int m_int;
};

class my_int3 {
public:
  typedef void value_type;
  typedef void pointer;
  typedef void reference;
  typedef std::ptrdiff_t difference_type;
  typedef std::random_access_iterator_tag iterator_category;

  my_int3() { }
  my_int3(int x) : m_int(x) { }
  my_int3& operator++() { ++m_int; return *this; }
  my_int3& operator+=(std::ptrdiff_t n) { m_int += n; return *this; }
  std::ptrdiff_t operator-(const my_int3& x) const { return m_int - x.m_int; }
  my_int3& operator--() { --m_int; return *this; }
  bool operator==(const my_int3& x) const { return m_int == x.m_int; }
  bool operator!=(const my_int3& x) const { return m_int != x.m_int; }
  bool operator<(const my_int3& x) const { return m_int < x.m_int; }
private:
  int m_int;
};

int main()
{
    // Test the built-in integer types.
    test_integer<char>();
    test_integer<unsigned char>();
    test_integer<signed char>();
    test_integer<wchar_t>();
    test_integer<short>();
    test_integer<unsigned short>();
    test_integer<int>();
    test_integer<unsigned int>();
    test_integer<long>();
    test_integer<unsigned long>();
#if defined(BOOST_HAS_LONG_LONG)
    test_integer< ::boost::long_long_type>();
    test_integer< ::boost::ulong_long_type>();
#endif

    // Test user-defined type.

    test_integer3<my_int1, std::forward_iterator_tag, int>();
    test_integer3<long, std::random_access_iterator_tag, int>();
    test_integer<my_int2>();
    test_integer<my_int3>();

   // Some tests on container iterators, to prove we handle a few different categories
    test_container<std::vector<int> >();
    test_container<std::list<int> >();
# ifndef BOOST_NO_SLIST
    test_container<BOOST_STD_EXTENSION_NAMESPACE::slist<int> >();
# endif

    // Also prove that we can handle raw pointers.
    int array[2000];
    test(boost::make_counting_iterator(array), boost::make_counting_iterator(array+2000-1));

    return boost::report_errors();
}

redpajama_set_name: RedPajamaGithub


text:
INTRODUCCTION: History of Astorga
The strategic location of Astorga caused the settlement of the Roman conquerors more than two thousand years ago, first, with a military camp of the Legio X Gemina and after with the establishment of the administrative capital of one of its demarcations: conventus asturicense. This has led to archaeological richness, which shows the economic vitality of the Roman Asturica from the first century A.C to the beginning of the third.
The phenomenon of the pilgrimage to Compostela, right in the Middle Ages, provided with a recovery of Astorga as crossroads during the twelfth and thirteenth centuries. It was then when the construction of churches, monasteries, hospitals and neighbourhood areas turned its town planning with the burial of the old regular design of the Roman time into an organic growth, typical of a medieval society. At the end of the fifteenth century, it begins an unsteady balance between the bishop's and the marquesal's authority with the building of the cathedral.
But until the second half of the nineteenth century, with the arrival of the railway, the development of the current city,which expands outside its walls, does not begin. Astorga is again a significant network of road connections, and it recovers the social and economical vibrancy, which has today in the tourism as one of its main focal points. Welcome.

redpajama_set_name: RedPajamaCommonCrawl


text:
Еник тип H1 () је аутомобил произведен 1929. године од стране француског произвођача аутомобила Еник.

Литература

Еник

redpajama_set_name: RedPajamaWikipedia


Why do we need a CNC version of a cast Systema part, which works perfectly well as it is?
Chatting to Bismarck from HAO I discovered a few things.
First, the acquisition of OEM Systema parts can be challenging for some. Fair enough. I buy my OEM parts from Tackleberry, who deals direct with Systema – so it's not a dilemma I've ever experienced.
The other things I discovered were a bit more interesting. The CNC machine in the pics is new and this manufacturing test is part of HAO's acceptance criteria for the new machine.
What I like about this is that HAO doesn't rely on third parties for their creations. They control production themselves. That's how they can set and maintain their quality at such great heights. It also means that they aren't resting on their laurels and are pushing their manufacturing capabilities in new directions – with expensive new machinery.
And yet, and yet…a CNC hop chamber. Why bother? Why not just cast it like the OEM?
Well, here's the thing. HAO looked at the PTW hops on the market and concluded that Systema's was the highest quality. Nothing new there and most people know it's best to stick with the OEM.
So what are the gains? Well, until these things are tested it's theoretical right now. It's all about tolerances and turbulence. But if I tell you that HAO's other expertise is in making hi-tech valves, it's little wonder that they are using Dassault Solidworks fluid modelling software to get a handle on making the PTW hop better.


Unfortunately, these judgments often result from individuals failing to respond when they receive a summons notifying them there is a pending, active lawsuit against them in state court. Florida allows a defendant just twenty days to respond to a lawsuit to prevent a default judgment, a judgment due to the defendant's failure to respond, from being entered by the courts.
In the event that a judgment is entered, judgments are enforceable for twenty (20) years in the State of Florida, and interest accrues at a statutory rate, currently 4.75 % per year.
If an individual fails to pay that judgment, creditors have several options to enforce that judgment, including but not limited to wage garnishment. Creditors may obtain an order from the court to garnish up to twenty-five (25) percent of a person's net pay. Typically, the garnishment continues until the judgment, along with the accruing interest, is paid in full.
One way to prevent or stop that garnishment is to file a bankruptcy. Under the United States Code, the bankruptcy court enters an injunction, called an automatic stay, which prevents creditors from taking any further action against the individual who has filed bankruptcy, known as the debtor. This stay is automatic, and applies in both Chapter 7 bankruptcy and Chapter 13 bankruptcy. The stay is designed to prevent creditors from initiating lawsuits, obtaining judgments, or beginning or continuing wage garnishments.
In the event that a creditor continues to garnish the wages of the debtor, there are several options available to the debtor and the debtor's attorney to stop the garnishment. Often, the attorney can contact the creditor or the creditor's attorney directly and inform him of the ramifications of violating the automatic stay. When a creditor continues to garnish wages in violation of the bankruptcy code, the debtor and the debtor's attorney can decide to move for sanctions against that creditor. The bankruptcy court has several different types of sanctions available that it may order against a creditor in violation of the bankruptcy stay.
If you are facing a wage garnishment, it may be beneficial for you to contact an experienced Jacksonville bankruptcy attorney for more information regarding your options. The attorneys at Cleaveland & Cleaveland, P.L. handle bankruptcy and can help to determine which chapter of bankruptcy is better suited for you.
If a judgment has been filed against you and you are facing a current or potential wage garnishment, please contact the attorneys at Cleaveland & Cleaveland, P.L. at (904) 642-2040 to schedule a free consultation.
Next Article What is an Attorney Allentown?


For the fifth year in a row, I thought it would be a great idea to recommend local wines for upcoming holiday parties, dinners, and gift giving. Once again, I received an amazing amount of participation from our local wineries. Over the last few weeks, I received more than 100 entries. After tasting and tasting, there were many solid, well-made wines to recommend. I have created several lists of top local wines into categories below.
Bianchi's California Champagne is a lively and fruity style bubbly brut that is good for everyday enjoyment or that special soirée. It's a non-vintage sparkling, and a perfect treat for the holidays.
This Method Champenoise style, blanc de blanc cuveee is known for its creamy flavor and tiny bubbles. It's a dry brut-style wine with a touch of sweetness. It has a yeasty bouquet, a supple mid=palate, and bright, crisp apple flavors.
This sparkling merlot shows a deep crimson red hue and a touch of sweetness sure to delight any holiday party. It offers bold flavors of cherry, licorice and red currants. Pair it with salads and appetizers. Cheers!
This non-vintage effervescent sparkling wine is light and easy to drink. It comes from one of the county's premier sparkling wine producers. It was made using the traditional Methode Champenoise style. Tiny bubbles and a crisp finish make this sparkling a real crowd pleaser. It's a blend of pinot noir, chardonnay and pinot blanc. It will pair well with a dessert or a fruit and cheese course.
This Méthode Champenoise brut is made primarily from chardonnay and pinot noir grapes. This non-vintage wine is not sweet, nor is it dry, but rather is very well balanced with a round finish. Notes of pear, apple, and a light effervescence makes this sparkling a perfect match to a light meal pairing or a celebratory toast.
A classic non-vintage bubbly perfect for holiday toasts. It's a blend of chardonnay and pinot noir. This sparkling wine is produced using the traditional Methode Champenoise" style, which undergoes a secondary fermentation in the bottle. It has notes of apple and a toasty finish.
A bright wine with hints of strawberry and a dash of citrus. It's elegant with tiny bubbles from the Methode Champenoise process. It's made from 81% pinot noir with a splash of other varieties.
This delicious rosé offers flavors of strawberries and blood orange with a peach, watermelon, & yellow cherry finish. Only 100 cases produced.
This syrah rosé a perfect holiday party starter. It offers a nose of dried apple, juicy watermelon, and finishes with a touch of blood orange. It will pair well with appetizers and the main course.
This delicious pink wine is made from 92%-percent garnacha with a splash of tempranillo albariño. The grapes began with a cold soak for 24 hours in the skins of garnacha plus a signee-bleed for cold fermentation in stainless steel tanks. This is a delicately fresh wine with light fruit aromas and lingering flavors of cherries, watermelon and strawberries.
This is a Santa Barbara County rose of pinot noir. It offers pretty notes of strawberry, pomegranate, and marzipan on the nose. On the palate, taste red fruit compote suspended by a bright thread of acidity that carry the flavors well into the finish.
Visually, this rose is striking, like translucent saffron. The nose presents layered notes of hibiscus, pomegranate, and passion fruit. On the palate, succulent hints of bing cherry, persimmon, and spice emerge. It's dry and crisp with a refreshing burst of acidity.
With vibrant watermelon hues and summer citrus aromas, the 2017 Mayson rosé has a day and night allure. Its finish lingers, with the sweetness of fresh-picked strawberries making it perfectly crisp and refreshing. It's a perfect wine for any holiday party.
This pink is a blend of 74-percent petite syrah and 26-percent syrah, The aromas of cherries will hit your senses. This rosé will coat your palate with hints of green apple, a creamy texture, and a silky finish. This will pair well with turkey and all your sides for Thanksgiving.
This pink will be great for the holidays. Your taste buds will be hit with notes of strawberry and sour raspberry as it hits your pallet. The floral aromas add to this lovely rose. This is a great wine to start your holiday party or paired with a charcuterie platter of meats, fruits, and cheeses.
This rosé is a great value! It has aromas of ripe strawberries and citrus. It's smooth, while still having a bright tang. It will pair well with a cool chicken salad and other light finger foods.
This syrah rosé from their Huerhuero Vineyard is packed with flavor and a great value. The aroma of ripe plum with hints of cranberry and honey give it a refreshing taste. Chilled its best way to drink it. It will pair well with pork and light chicken dishes. It even goes well with smoked salmon.
Red zinfandel free run juice was drained off and fermented in neutral oak barrels. It's a bright, vibrant, dry relaxing wine.
Co-fermenting viognier and vermentino produced this delightful white with balanced acidity, and aromas of cardamom and orange blossom. This light-bodied wine is rounded out with notes of pineapple and crisp apple.
This refreshing chard delivers flavors of Meyer lemon preserves, golden delicious apple, and cantaloupe with a white peach and cardamom finish.
Excellent value for a delightful white wine. It has stone fruit and citrus flavors with toasty oak spice.
A white Rhone-style blend of grenache blanc and viognier with layered aromatics, superb color and an intriguing palate. It's the consummate winter white food wine. Rich and bold to the initial palate, it is immediately complemented by a veritable fruit bowl of citrus characters; lemon, lime, mandarin and grapefruit. Perfect compliment for creamy soups, chicken, and pasta dishes. Leaves the palate refreshed for that inevitable second helping.
This Italian-style white wine offers aromas of pear and honeydew melon with flavors of stone fruit. It finishes with a ripe and sweet candy fragrance.
This luxurious white has aromas of lemon zest and ripe melon mingled with subtle floral notes and just the right amount of vanilla. On the palate, the fruit and natural acidity compliment each other and lead to a rich finish.
This is a delightful blend of 45-percent roussanne, 28-percent marsanne, and 27-percent viognier. It offers aromas and flavors of apple, lemon custard and white peach. It has a soft acidity and pleasant minimality. The blend earned 90 points from Vinous.
Let this wine breathe a little while in the glass to enjoy its fullness. Mineral undertones add an interesting texture to this wine's varietal character. Enjoy with smoked salmon appetizers, seared ahi, or rare to medium-rare steak medallions. This chardonnay is a versatile wine with the body to support any holiday food pairing.
A perfect start to any dinner party and a fantastic value. This crystal clear and stainless steel fermented Pinot Grigio is refreshing and light. It offers hints of wildflowers and flavors of honeydew melon, pear and passion fruit.
Opens with sumptuous aromas of lemongrass and white peach. Flavors of green apple and cinnamon lead to a fleshy mouthfeel and a lively mineral finish.
This York Mountain chardonnay opens on the nose with lemon rind, green apple, and toasted oak. The whole-cluster-pressed wine reveals flavors of creamy lemon bar and tropical fruit and finishes with notes of creme brûlée.
This muscat blanc is an great value and perfect for the holidays. It offers sweet aromas of citrus with flavors of apricots followed by a smooth, silky and sparkly finish.
This delightful white has tropical aromas with notes of citrus, grapefruit and passion fruit. It finishes with a bright acidity.
This vintage has aromas of spiced apples and apricots. It's medium bodied with flavors of pastry cream and toasted oak.
This wine is a clear straw green color. It offers delicate, toasty, tropical aromas of peaches. It has flavors of coconut macaroon, dried mango, and sweet and peppery spices. It finishes with moderate oak.
Talley's signature white wine. It's an expression of the calcareous soils and cool maritime climate of the Arroyo Grande Valley. It has a light gold appearance, with a buttery aroma. On the palate, classic citrus elements of tangerine and lemon are enhanced with notes of honey-roasted nuts and a toasty finish.
This viognier offers aromas of honeysuckle and ripe apricots intertwined with hints of almond blossom. The rich, silky flavors from the new seasoned Hungarian Oak Barrels give it a rich finish. It is ready to drink now, this viognier is delicious and approachable. It's a good wine to pair with appetizers, cheeses, and holiday meal.
This refreshing blend is a great value and showcases the bold fruit flavors of viognier, pleasantly crisp verdelho, rich smooth finish of vermintino and sweet hints of honeysuckle and pear in the sauvigon blanc. With layers of fruit and richness this medium-bodied wine has a delicious quenching finish.
It's a delicate white, but robust with aromas of peach, apricot and honeydew melon. Pairs well with, scallops, mussels and tapas. This is a smooth and delicious white, and it's a great value. It's a great way to start any holiday party.
Albarino originates in Rias Baixas Southwestern Coast of Galicia Spain. This wine was fermented in 20-percent new French oak barrels and lees for eight months. It was grown on the Paragon Vineyard in the appellation Edna Valley. It is crisp, with notes of peach, guanabana, and tropical fruits. Round ripe mouth feel and a great minerality and savory with a slightly exotic personality in the finish. Food pairing Brazilian Moqueca fish Stew or Sushi.
This Huerhuero Vineyard wine offers a nose of lime, lemon and pear. The flavors deliver the same with a perfect minerality and balanced acidity. This is a juicy wine that pairs well with tapas and appetizers, or is great all by itself.
This is Calipaso's first small-lot reserve wine. It's named after Alan Kinne, their director of wine making for his pioneering work over the last 20 years in Tempranillo. The wine offers black cherry and dried fig flavors with hints of tobacco and cedar.
Though the French varietal Grenache is perhaps more widely known, the Spanish garnacha is one of the oldest varieties grown in California. Spanish settlers along the west coast began planting garnacha, which originated in the Spanish province of Aragon, in the mid-1800s for wine production. This wine used whole-cluster fermentation. The result is a rich and elegant yet medium bodied wine, with a violet rim and orange highlights and a deep cherry tone at the core.
Tempranillo is an early ripening variety that tends to thrive in chalky vineyards soils. This wine has a dark red color, a full nose of ripened fruit, dark dry fruits, leather with a hint of tobacco, notes of chocolate, and a round mouth. A complex wine with smooth tannins is achieved. Food pairing: Paella, hot tapas, Jamon Serrano and Manchego Cheese.
This wine is rich in flavor. Providing wonderful aromas on the nose. A dark berry flavor that glides over the palate and has a nice finish. Pairs nicely with most any red meat, as well as working nicely with Mexican foods. This wine was aged 18 months in a combination of French and American oak barrels.
This is an interesting and tasty red wine blend of primarily classic port varieties from Portugal, Spain's next door neighbor. It includes Touriga Nacional, Tinta Cao, cabernet sauvignon, teroldego and tinta roriz. It has a huge nose packed with anise, cherry, black tea, and spice. It offers flavors of lush blueberry, cranberry, and juicy raspberry, trailing into a mocha and oak finish.
Herbs and spice along with a rich cocoa and black cherry make this wine very luxurious and decadent. Fruit flavors intertwine and play nicely with the savory notes of oak and cracked pepper, with a raspberry finish. This wine is best paired with grilled meats.
This wine delivers an overall balanced approach of fruit to acidity. Blackberries fruit, leather, cedar bring a rich flavor across the palet. This wine is the perfect pairing with BBQ Ribs. Only 25 Cases were produced.
Rich Ruby and Garnet color and fresh berries and plums on the nose. A beautiful balance of fruit on the palate with a hint of cedar, black cherries and a soft oak finish. Only 25 cases were made. This would pair well with filet mignon or a porterhouse steak.
This rich blend of Cabernet Sauvignon, Malbec & Petit Verdot has strong notes of blackberries & raspberries on the nose with hints of black current & cherry. Soft tannins make this a complex wine, hints of toasted oak and vanilla at the finish. Pairs well with beef.
This classic Paso Robles zin won a Double Gold Medal at the San Francisco International Wine Competition and a Gold Medal at the 2016 West Coast Wine Competition. The palate and nose is filled with blackberry and ripe strawberry with a hint of sarsaparilla and a touch of sweet toasted oak. These grapes were sourced from three outstanding Paso Robles vineyards: Steinbeck, CoCaVin & Wine-Bush. It will pair well with grilled pork and beef.
The Dusi name is synonymous with zinfandel and Janell Dusi exceeds expectations with this Paper Street Zin. It offers dark and intense fruit structure with light spice and big bursts of boldness. Hand harvested from the rugged terrain of the Paper Street Vineyard, it lets the grapes speak for themselves. Listen carefully and you'll be rewarded.
This sangiovese blend is a rich medley of blackberries and olallieberries, with underlying notes of nutmeg and clove. The bright acidity of sangiovese serves as the wines backbone and supports it across the palate into the finish where the heft and structure of petit verdot round out and complete the performance.
From the Riboli family, this Paso Robles Zzn is rich and robust with an inky purple hue. Notes of bright raspberry, spice black plum, baking spices, oak, and just a touch of smoke. It has a chewy and velvety mouth feel with a dry finish. Not too sweet. Would be perfect with a steak. 15.1% ABV.
A decadently jammy and fruit forward wine. Opens with rich aromas of raspberry, rhubarb, Bing cherry with hints of vanilla, cedar and tea leaf. Flavors of dark plum and cherry are married with silky smooth tannins that lead into a long and stratifying finish.
Our holiday zinfandel recommendations would not be complete without a nod to one of Paso Robles' most-famed zin producers. This bottle delivers classic Willow Creek AVA zinfandel flavors. This wine is flush with floral aromas. On the palate, taste blueberry, rhubarb, and orange zest. It leaves a dry, white peppery finish.
This estate wine's intense blueberry and blackberry flavors and supple tannins will pair with holiday meals of rich meats such as rack of lamb, prime rib, and roasted duck with grilled vegetables or a hearty beef stew.
This Zinfandel has a thick and sweet taste right from the start. Hints of Blackberry and chocolate dance on the nose. Very smooth and steady overall sweet taste. Finishes with a prominent vanilla finale.
A dark red blend of zinfandel and cabernet sauvignon. It has aromas of blackberry and cherry laced with spice. Those flavors continue on the palate with rhubarb and fig with lively acidity and creamy tannins that turn to velvet. It will pair well with grilled meats and barbecue.
This wine brings intense aromas of black raspberry, boysenberry, along with a hint of semi-sweet chocolate. Full berry flavors lead the way in this wine followed by elegant tannins. The combination of flavors left a desirable long-lasting flavor on the palette. This wine pairs wonderfully with rich red sauces as well as seafood and chicken.
This classic zin shows ruby garnet colors. It has a delicious nose of red fruits and hints of black pepper. It delivers flavors of rich berry fruit and chocolate. It will pair well with pork, lamb and filet mignon.
A robust mouthful of dry-farmed zinfandel grapes. It's a big, spicy wine with dark berry, plum, and cherry flavors. Drink all by itself or pair with grilled meats, pizzas and pastas. Enjoy a glass while decorating for the holidays.
The grapes for this wine were hand-picked from the Terra Bella Vineyard in the Adelaida District AVA. The deep garnet syrah offers aromas of blackberries and dried fig. The full-bodied wine delivers dark red berry fruits with a smooth and structured finish.


Hospitals struggling to recruit nurses.
The vast majority of hospitals in England are struggling to recruit enough nurses, figures show.
Around 92% of the 225 acute hospital trusts in England did not manage to run wards with their planned number of nurses during the day in August 2016.
The figures, published by the NHS, show that hospitals in England are falling short of their own targets for levels of safe staffing.
The Department of Health said staffing is a priority and 50,000 nurses are currently being trained.
Analysis shows average staffing levels across the 225 acute hospital sites in August was worse than in January, when 85% of hospitals missed their staffing targets for nurses working during the day.
The figures also showed 81% of hospitals failed to have enough registered nurses working at night. A total of 79% of hospitals missed their target for registered nurse staffing across both day and night.
Many hospitals have had to rely heavily on overseas recruitment as well as agency staff to provide safe staffing levels and the right mix of skills.
The government is scrapping the cap on how many nurses can go into training, which it has said will help boost numbers.
However student nurse bursaries are being replaced by loans that unions warn could deter people from choosing a career in nursing.
Royal College of Nursing chief executive, Janet Davies, said hospitals were trying to catch up on their staffing levels.
She said: "We went through a period when we were trying to save money. We cut posts, we didn't train enough nurses and we're still feeling the effect of that.
"We've got to catch up but we also have to keep the nurses we've already got. It's great to train people but our experienced nurses are leaving because they're overtired - it's a vicious circle."
She said nurses were "exhausted" at the end of their shifts and often having to stay late to provide extra care.
She added: "They do get very concerned because they know what they should be doing for patients and if they can't, it's really upsetting."


Home Alcoholism and Alcohol Addiction Alcohol Abuse FAQ When Was Alcoholism Recognized As a Disease?
When Was Alcoholism Recognized As a Disease?
The concept of alcoholism is one that's complex and difficult to understand, even if it's something you're living with or a family member suffers from. There are a lot of misconceptions about alcoholism, and also questions including when was alcoholism recognized as a disease, and what are the ideas behind that classification.
First, having an idea of why alcoholism is a problem is important before exploring the specifics such as when was alcoholism recognized as a disease.
Alcoholism goes by many other names including alcohol use disorder, alcohol abuse, having a drinking problem and others. Ultimately, alcoholism refers to a pattern of alcohol abuse in a person's life that has led to problems and negative consequences. This can include physical problems, such as health issues, mental, financial or relationship issues.
Alcoholism is something that tends to develop or progress, particularly over the years. So a person may start as a social drinker to a heavy drinker, and then ultimately they may be dependent on alcohol, meaning if they don't have it they experience physical symptoms of withdrawal.
There are many factors believed to contribute to alcoholism including genetics, but also environmental factors such as the environment a person grew up in. It's believed that people with certain mental disorders such as depression or bipolar disorder may also be more likely to be an alcoholic. Situational factors including easy alcohol access or being in a culture where alcohol use is common can also contribute to problems.
Alcohol use disorder is a medical condition that can be diagnosed, and in the general sense, it refers to a condition where a person consumes alcohol to the point where it causes harm. Alcoholism is just one manifestation of AUD, and symptoms include a physical craving for alcohol, a dependence that leads to withdrawal when you don't drink, higher tolerance levels, and the feeling that you're unable to stop drinking once you begin.
According to the National Institutes of Health, there were around 17 million U.S. adults with an alcohol use disorder in the U.S. in 2012.
So, when was alcoholism recognized as a disease?
The American Medical Association deemed alcoholism as an illness in 1956, based on the theory that excessive drinking and alcohol addiction is caused by a disease of the brain, based on the structure and function of the brain.
Some of the elements of the disease include an inability to control alcohol intake, compulsive thoughts about alcohol and distorted beliefs. The underlying concept of this theory is that the disease of alcoholism can then lead to physical dependence and other diseases like cirrhosis of the liver.
While it's been many decades since alcoholism was recognized as a disease, there is still debate and controversy surrounding the subject. Some people have said that addiction is a choice, while science has shown that it's much more complicated than that.
In the medical sense, most professionals look at how alcohol and other substances impact the brain and its reward system that ultimately trigger certain responses, and the brain's unique features play a significant role in how people experience the use of alcohol.
The American Psychiatric Association defines alcoholism in the same terms as alcohol dependence, and the American Hospital Association, American Public Health Association, National Association of Social Workers, and the American College of Physicians all classify alcoholism as a disease.
The National Institute on Alcohol Abuse and Alcoholism (NIAAA), which is part of the National Institutes of Health, has taken the position that alcoholism is a disease. They highlight the fact that the craving an alcoholic feels can be as strong as their craving for life-sustaining food or water. They also hold the position that as part of the disease of alcoholism, a person will continue to drink despite serious consequences, and it's chronic. They say that it follows a certain course, which is shown the progressive steps of alcoholism, and that it will last a lifetime, with definable symptoms. They also say the risk of developing this disease is influenced by a combination of genetics and lifestyle.
Criticism of the idea of alcoholism as a disease includes the fact that it takes away from the personal choice component of abusing alcohol, and gives an excuse to the person, although again, this is very controversial. Opponents of the disease model also say that this theory and approach doesn't offer a real solution for people to stop abusing alcohol.
Do Home Alcoholism Treatment Remedies Work?
What is End Stage Alcoholism?
How Long Does Alcohol Detox Take?


text:
BOOK IS AVAILABLE NOW!!!
Order at RevHQ.com or Amazon.com
TODD SWALLA TALKIN' EARLY NECROS AND WHATNOT...
How did you first become aware of Punk Rock? Prior to the UK stuff, were you aware of the MC5, Stooges and the stuff going on in the Midwest?
I grew up with the MC5 and the Stooges. My brother had all those records when they came out and he listened to them a lot. We used to put "Kick Out the Jams" on 78 and freak out and jump on the bed and stuff like that. He listened to the New York Dolls a lot as well. My first exposure to what was actually called "Punk Rock" was on the national news during the whole Sex Pistols media blitz of 77/78. You could not get away from it for a good many months. Then my brother bought "Leave Home" by the Ramones and it was all over!
What were some of the first Punk records you got ahold of and what kind of impact did they have on you?
The aforementioned Ramones album, Heartbreakers-'LAMF', Devo, Dead Boys 1st, Elvis Costello albums, Generation X, A comp called "New Wave" which had a lot of great stuff and some really bad stuff on it as well. Television-'Marquee Moon', not really punk but we loved it! Tuff Darts, we bought Wire-'Pink Flag' on a whim because it had a warning about the swear words on the record, this of course turned out to be an amazing album! In Toledo, Sex Pistol's product was not really available until the U.S. album came out for some reason. We made several trips to Drome Records in Cleveland, We started buying Buzzcocks, The Damned, Sham 69, various import 45's, Pagans, The Saints, UK Subs etc... Then our local stores starting having "Punk" sections... All of these records made a huge impact on our feeble little minds. It was a whole new world opening up.
What kind of music were you into prior to Punk Rock?
I was into Sabbath, Nugent, Aerosmith, Kiss, Van Halen, Alice Cooper, The Tubes, along with The Stooges and the Five, anything that was loud and not wimpy. I saw The Stooges at the Ann Arbor Art Fair in 1970 though I was only 7. My first rock concert was The Tubes in Toledo probably early 76. Toledo had a fairly vibrant concert scene but no local bands of any merit. Tom Scholz from Boston was the big Toledo rock star. The clubs were all booking cover bands from what I have been told.
What record stores in the area were stocking Punk records?
Boogie Records was the local indie store and they would order anything for us even though the clerks made fun of it. Peaches had a punk/new wave section that a metal head employee named Chuck set up. Disc Records was in the mall and this is where Tim Story worked, he did not make fun of us and would go ahead and order stuff on his own and turn us on to it. A bond with Tim was created and he ended up recording our first 45. Special Records opened later, closer to the Hardcore period.How did you guys eventually find out about the West Coast bands? Probably thru Slash and Flipside for LA and Search and Destroy for SF stuff in that order. You had to have every Dangerhouse release to complete your 45 collection. We were all in love with Penelope Houston! We had also hooked up with Jeff from the San Francisco Punk band No Alternative who was from Toledo and was visiting his parents. He turned us on to a lot of SF stuff and encouraged us to be a band.
Did you skate prior to being in the band? How do you think the Punk thing and the skating thing worked together?
I met all of my future band mates thru skateboarding. I had already known Corey because our parents made us go to church and his Mom was friends with mine. Barry would hang out at Church functions with Corey sometimes. He had already been seriously skating for a few years by this time. By this I mean he had pro equipment bought by mail order from California. I was still stuck on a plastic Huffy from K-Mart. I met Andy and David Cooke at a skate demo they did at the library in Maumee. David was the best skater in the area and ended up taking me under his wing. Jeff Lake also skated and went to my Mom's church. I met Brian Hyland at the Toledo skate park. Andy and I ended up going to Catholic High School together our Freshmen year. We both got kicked out and he went to Maumee HS and I went to Bowsher HS in Toledo. At St. Francis he turned me onto Skateboarder Magazine and lent me an issue so I could get my Mom to order me a real board. Thru that magazine and Action Now we learned about punk rock along with the initial Sex Pistols media blitz on TV. In my opinion, the Detroit Hardcore scene would not have happened without the energy of the skate scene that was already happening. Being skateboarders from the Midwest we were automatically drawn to Southern California surf/skate culture. We were always up on the latest things coming from out West. The skaters adopted that whole Huntington Beach vibe and infused the energy into a dull and dying Detroit Punk/New Wave scene and re-vamped it to how we imagined it was out west. Jack boots, cropped hair, bandannas and chains, 30 second songs etc.. We all tried to look like the skankman for a period. All the dudes in DC and Boston skated too, its nothing really too surprising. On that Minor Threat trip to Madison we encountered a scene that was ALL skaters. I copped the whole Bermuda shorts thing from Bucky and those dudes and dropped the boots and braces thing for a Black Flag/ thrift store and Vans look.
How did the relationship with Tesco and Dave at Touch and Go start up?
I think they wrote to us first via Smegma. Either that or Barry picked up Touch and Go in Ann Arbor and wrote to them. They came to a show of ours in Ann Arbor at the Xanadu Co-op and took us under their wing after that. Those guys encouraged us to act like Punk Rock brats but they also made us confident as a band. Two of the finest men I will ever have the honor of knowing!
What inspired the creation of Smegma Journal? How did you distribute the magazine in the start?
Smegma was Barrys' thing and he would have us write record and show reviews. His parents paid for it with the back cover ad for their wine shop which was across the street from Barrys' house. We all worked there at one time or another. At first we gave it away but then we started putting issues on consignment at School Kids in Ann Arbor and Boogie in Toledo. It got to be too much for Barry with the time involved in the band so I think he just lost interest plus we were intertwined with Touch and Go at that point.
How did you become aware of the slam dancing/stage diving rituals that were starting in LA?
At first, through the LA and San Francisco fanzines. I remember a big article in S.F's Damage about the whole Huntington Beach thing and a review of that famous Circle Jerks invasion of S.F where the HB crew followed them up to wreck havoc. Then of course Corey came back from LA with the gnarly Starwood videos of Flag, the Adolescents and China White. Watching these videos was like Hardcore 101.
Lets talk about the start of the Necros. Give me the full lowdown on how it got together, what inspired it, etc.
David Cooke, Barry and myself were being carted home by my Mom from the Toledo skate park. This was late '77 or early '78, right in the middle of the whole Sex Pistols media blitz being played out on National TV. Punk Rock was on the news every night for a good 4 or 5 months culminating with the death of Sid Vicious. We were already into loud aggressive Rock 'N Roll albeit Ted Nugent and Aerosmith etc.. but this stuff was way crazier and as loud as those older Detroit groups my brother was into. We dug out the old Stooges and Dolls records and started listening to them again. My brother cut all his long hair off and his friends did as well. They started a punk band way before the Necros were even conceived, The Dangling Abstractions. David Cooke came up with the name Circle Jerks as a joke but something about necrophilia was thrown about as well. I think Barry came up with the condensed version. I don't think we started actually practicing until winter of '78 which means we talked about it for over a year.
Once you guys got a hold of those early LA punk singles, did it change anything in the style of the band?
It was more the influence of those Dangerhouse 45's than just LA bands. Remember The Avengers and The Dils were from SF and those records are two of the best. It seems we could relate more to them because they were from the states. We still dug English punk but it's hard for a 16 year old living in suburban Ohio to relate to someone from England singing about the dole and tower block riots. That Weirdos 45 is probably one of the best punk singles ever. The Germs album was a turning point. Darby was our new Iggy. Then Barry discovered Black Flag and it was all over. We had to play harder and faster; it had been pre-ordained.
Do you remember the 1st gig you guys played? What was it like?
Let's clear things up first. Contrary to what "American Hardcore" states our first gig was not at the VFW Hall in Ann Arbor opening for the Cult Heroes. The first Necros gig was on Halloween night 1979 at a University of Toledo watering hole known as The Brass Bell. We were friends with one Steve Athanas who sang for a new wave cover band known as The Best. They decided to sneak us in and let us play during one of their breaks. We were awful but we did have a lot of attitude. Barry got in a fight with some frat dude on stage and he kicked him. Brian Hyland played the whole set with his pants down to his ankles. It was the first real drum set I had ever played. We played for like 15 minutes and we were done. Then we had to hang out in the Pizza Place next door because we were too young to be in the bar.
How did you get to know the other people that would make up the Midwest scene like Negative Approach, Violent Apathy, The Fix, Bored Youth, etc?
We met Pete and Brannon early on at a Madness show at the Punch and Judy. Later we ran into Brannon at a Subhumans (Canada) show at Wayne State. We introduced stage diving and pig piles at that show. We'd already known Larissa for a few months I suppose. This was like mid 1980 most likely. Through Brannon and Pete we met all the Detroit skate punks. We met Violent Apathy and The Fix through Tesco. Bored Youth were just kids who had been going to shows and I think they approached Corey about getting on some bills. We had also met the Toxic Reasons in the summer of 1980 at a big RAR show in Clark Park which had DOA headlining. Bad Brains were also on the bill but ended up cancelling.
English Oi! Music played a big part in the early Midwest scene. How did you become aware of these bands? What was your interpretation of these bands? Did you find the idea of English music to be exotic? How much of the English skinhead ideals come into play into play in the Midwest scene?
We read Sounds of course! We were already into Sham, UK Subs and the Upstarts and these bands had a similar vibe, though most of them kind of sucked. Exotic would not be the term I would use. We quickly realized that we could play our instruments a lot better than most of these limeys could. The original core group of Detroit kids split apart because of Oi! music, ignorance and fear. The skaters continued to skate and listen to whatever...anything from Motorhead to The Descendents. The skinheads started drinking ale, bashing heads and listening to Skrewdriver, The Last Resort and The Effigies. It was very sad and quite humorous at the same time. I remember they were real bummed when Sab Grey "went punk". They jumped Corey one night at the Greystone and he got beaten up really bad, this was after he left the band and we had had our falling out. I hear some of the original skins are still into it after all these years. Pretty pathetic!
What was the first time the Necros left town for a gig. What was that like? What were some of your favorite 1st time out-of-town gigs?
Apart from Ann Arbor or Detroit we played a horrible show at a fag bar in Lexington, Kentucky. This was back when half of our set was Adolescents and Black Flag songs that nobody but us had even heard outside of California. Other faves would be the Boston show with SSD, Minor Threat, Meatmen and FU'S at some VFW hall. This was where we first did all of the songs for Conquest and re-introduced Andy on guitar and pretty much blew everyone else off the stage. It was a great feeling because we came to Boston and cleaned house big time. Others would be having Goldenvoice fly us in to open for Motorhead, Lincoln Memorial with Fear and Void, first NYC show with the Jerks, there are too many to remember.
Posted by WBSTYN at 11:17 AM No comments:
C'MON DOWN TO ASBURY PARK & GET A COLLECTORS ITEM...THAT'S ALL WE GOTTA SAY... OK...here's the deal, fidels. We just got done rubberstamping 56 books (2 boxes) with the stamp pictured above. If you show up tomorrow night at the NA/DOA show at the Asbury Lanes tomorrow and buy a book, this is what you'll get. Once we run out of 'em, that's it. So come early and get a book or pose hard.
Posted by WBSTYN at 8:31 PM No comments:
BOOKS IN ASBURY PARK THIS FRIDAY FOR THE NA SHOW...BE THERE!!!
That is right! We will have a VERY small amount of books at the Negative Approach show going on in Asbury Park, NJ this Friday (6/18) Be there to get a book 3 weeks before its release date! Exciting crap, no? We are looking into making these copies a unique entity. Maybe something like a rubber stamp of the date or something like that. We're still working on that. Keep checking the blog and the Facebook page in the next three days for updates, pics, etc... This is some huge stuff!!!
Labels: http://1.bp.blogspot.com/_8Nf6_68frYA/TBgnmpGwBgI/AAAAAAAAAGQ/otziir7c8_8/s1600/wbstyn_cover.jpg
PETE ZELEWSKI OF NA AND THE ALLIED SITS DOWN FOR A SERIOUS CHAT... WBSTYN - Give a brief description of how and where you grew up. If you didn't grow up in the Midwest, where did you grow up and what lead you to this area? Do you think the environment you grew up in was one of the factors that got you interested in Punk?
Pete Z - I grew up in a very middle class suburb of Detroit called Grosse Pointe. Life in Grosse Pointe was probably like a million other soulless suburbs throughout America, which was the perfect breeding ground for me to engross myself in punk rock. I always felt like an outcast in High School and the local community and found that by submerging myself in music, art and writing I could just about survive the normality of the local life. Punk Rock not only gave me an outlet to vent my frustrations (through music, bands and fanzines) but also an identity that was unique to me at the time.
WBSTYN - How did you first become aware of Punk Rock?
PZ - I was into music long before I discovered punk rock mainly due to the influence of my older brother. There was always musicians hanging around my house and it was natural for me to follow in the same direction. Although my brother was more into traditional rock, musically I was always drawn to bands that were less on the mainstream side of things. One summer a cousin came to visit from London and for the first time I was exposed to all sorts of bands that were happening in the UK punk scene at the time (The Sex Pistols, The Jam, The Clash, The Ruts etc.). Although I used to read about punk in magazines like Creem, for one reason or another I never took them seriously. Out of curiosity I bought the Sex Pistols 'Never Mind The Bollocks' and from the moment the needle hit the turntable I was hooked. It was the calling I had been waiting for and from that point on there was no turning back. Within a week I cut and dyed my hair, ripped up my leather jacket, learned a few guitar chords and formed my first punk band called The Sleeves.
WBSTYN - What were some of the first Punk records you got? What are some of your favorites out of the lot that inspired you to start bands, etc. What records prior to being aware of Punk do you think factored into you getting interested in Punk?
PZ - The most liberating thing for me about Punk Rock was that anyone could do it (and anyone was welcome). One of the most influential albums for me before hardcore was 'Rocket To Russia' by the Ramones. As a struggling guitarist I managed to learn the entire album in a weekend while my older brother and his friends painfully spent weeks learning chord progressions to Pink Floyd's 'Dark Side of the Moon'. Since I had no set agenda musically I was very open-minded and would buy anything that looked interesting (The Jam, Eater, Sham 69, The Clash, The Buzzcocks etc.). What I loved most about punk rock at the time was that visually the records were often as exciting as the music on offer. I was very into art at school and found the imagery used in record sleeve design very stimulating. This inspired me not only musically but also the fanzine graphics and gig poster design I later was heavily involved in.
WBSTYN - Describe what the Midwest music scene was like at the time before you guys started playing out. Name specific bands and clubs and what kind of 'scene' went on there and how you felt about it. What were the bands (prior to the HC explosion) in your area that you thought were doing something viable and inspired you to start playing music.
PZ - Before the hardcore scene evolved there really was no scene to speak of in Detroit. Because of licensing laws (I was 16 at the time) it was almost impossible to see bands in the few clubs that had punk rock on offer. The punk scene at the time had more of a new wave slant and consisted of a few places like Bookies, Nunzios, The Red Carpet and a few irrelevant others. In the early days, myself and John Brannon (NA singer) would go to check out local Detroit bands like Coldcut, The Mutants, The Sillies who were all 'supposedly' punk rock. We found it very disheartening, and if anything, it made us more determined (by their lack of conviction) to start a band that was relevant to kids our age.
Through our never-ending search for good music we luckily befriended a girl called Larissa Stolarchuck who sang in a band called L7. L7 were a huge breath of fresh air for us and the only Detroit band we could take seriously at the time (not hardcore but very uncompromising in their approach). We took every opportunity to see them live and became real fans. Larissa also wrote a fanzine called 'Anonymous' which certainly inspired my fanzine writing later on. Larissa was a very interesting person and highly knowledgeable musically and responsible for introducing John and I to the Necros.
WBSTYN - How did you find out about the west coast Punk stuff? Slash? Flipside? Where did you find those magazines in the Midwest? Did you do a lot of mail order? What record stores out there stocked this stuff?
PZ - It will come as no surprise that my musical influences in most cases laid on the other side of the Atlantic so at the time I wasn't aware of Flipside or Slash. I used to travel about 50 miles to Ann Arbor (a small college town in Michigan) to buy the New Musical Express and Sounds just to read about British punk rock. If the NME wasn't in stock I would pick up anything else that might look interesting and slowly I built up a huge collection of fanzines, which helped to further expand my musical knowledge with what was happening outside of the sterile confines of the Detroit music scene.
WBSTYN - Did you skate? If so, how did you get into that and how did you find out about pro skaters like Alva, Adams, etc? How long were you skating for before you found out about Punk? How do you think skating and the HC scene worked together?
PZ - I always found it odd (and still do) between the connection of skateboarding and punk rock. Before my punk days I was heavily addicted to skateboarding and used to spend months on end at the local skate park. I was really into Tony Alva and all the Dogtown skaters and even got caught by the police one summer for spray painting 'Dogtown Skates' on a local shop wall. When I discovered punk rock, skateboarding just seemed so irrelevant and I immediately swapped my board for a guitar. A few years later a friend who was still into skating told me I had to come back to the skate park because all the skate kids had cut their hair and were full into punk rock.Because finding local punks my age was the equivalent of discovering life on Mars I went straight over there in the hope of finding some like minded band mates. I was slightly disappointed with my discovery when I realized that most of the skate kids had very little interest in music (Devo was a favorite amongst them?) and were really just using punk rock as a way to emulate their skate heroes in California.
WBSTYN - How did you get to know Tesco Vee? What was the first time you met him?
PZ - We were introduced to Tesco shortly after we met the Necros. Touch and Go was the Midwest hardcore bible at the time and very well respected in the underground American music scene. Because of this status whenever Tesco wrote about a group it was instant publicity. He conducted the first ever Negative Approach interview (in a toilet) before we even played a gig and our popularity just seemed to grow overnight. If anything he made us feel like a band worth listening too and really gave us the confidence to push on. Tesco was never really a big fan of the Allied, but I always respected him because he gave us a fair hearing and wasn't so quick to judge us like many others from that scene. He was also highly knowledgeable musically (never limiting himself to just hardcore) and had a huge record collection (the only one to rival Barry Hensslers'), which as a record nut, I was in complete awe of. Through his fanzine Touch and Go we were exposed to all sorts of West Coast and Washington D.C. music that most of us would never have had the chance to read about.
WBSTYN - How did you become aware of the slam dancing/stage diving ritual of Hardcore? Did you read about it? I know this sounds like a totally retarded question, but I'm just sorta curious of how you found out about it.
PZ - The whole slam dancing thing was very a west coast thing and I was completely unaware of it until I first saw Black Flag (with Dez on vocals). The Necros were obviously well into it and the moment Black Flag hit the stage the floor exploded with slam dancers with elbows and fists flying in every direction. It was never really my thing but it certainly helped to make hardcore gigs a real spectacle.
WBSTYN - When and how did you guys get to know the kids in the D.C. scene?
PZ - The Washington D.C. connection happened through Barry, Todd and Corey from the Necros. They were well into the whole D.C. scene long before us and exposed us to all the great music that was coming out of the area. We first met the D.C. kids when Minor Threat played a gig to about 30 kids in a bar in Windsor, Canada called the Coronation Tavern. Seeing Minor Threat live for the first time was an experience I'll never forget and certainly in my top 10 gigs of all time. At the time John Brannon and I just formed Negative Approach and we quickly realized that if we were going to be taken seriously as a hardcore band in their league we had some serious work to do.
WBSTYN - What do you remember about the band Harold?
PZ - A joke-ish band fronted by a guy called Davo (I think). If my memory serves me correct Harold used various members of Youth patrol as a backing band. Never my sort of thing but always very humorous. Frontman Davo took some great photos from the early Freezer days some of which I used in my fanzine the Real Threat.
WBSTYN - What do you remember about Youth Patrol
PZ - Youth Patrol were one of the earliest hardcore bands along with the Necros and Negative Approach. I have vague memories of myself playing guitar for them in the early days but left after forming Negative Approach. OP and Graham who later joined NA were both members of Youth Patrol. Their singer (Spike) also played bass in the first line-up of the Allied. For one reason or another no one ever took Youth Patrol as serious as they did Negative Approach (they were a few years younger) but they weren't a bad band considering they were all about 14.
WBSTYN - What about Bored Youth?
PZ - Easily the most underrated band from the Detroit hardcore scene. They weren't technically a thrash/hardcore band but they had a real style of their own and hugely influenced me when I put the Allied together. Musically their songs were slower than the bands at the time and they definitely had an English influence to their sound mainly due to singer Rob and drummer Fred being huge Eater and Sham 69 fans. Having said that lyrically they were in a league of their own and sang songs, which really hit home about what life was like being a teenage punk in Detroit (check out their song 'Outcast'). Their singer Rob Michaels was a good friend and a great guy. He sang for the Allied for a short time when Bored Youth broke up but left the band to attend college.
WBSTYN - English Oi! Music played a big part in the early Midwest sceneHow did you become aware of these bands? What was your interpitation of these bands? Did you find the idea of English music to be exotic? How much of the English skinhead ideals come into play into play in the Midwest scene?
PZ - It's hard to deny the fact that the English Oi bands had a big influence not only on the Allied but also on quite a few of the hardcore bands. I was an avid reader of UK magazines like NME and Sounds so even before my introduction to hardcore I was used to reading about bands like Sham 69, the Cockney Rejects and Blitz. Although the similarities between the Oi bands and the US hardcore bands are few, the common link, which really brought them together, was the whole chanting thing with everybody in the crowd singing along. The Necros used to cover Sham 69's 'Rip Off' and it would always get the whole crowd singing/chanting along which also started having the same effect on their other songs. I never limited myself to just buying music from the US, so although bands like Minor Threat and the Necros were a big influence, I was also checking out all the new Oi bands from the UK. I remember sitting down with John Brannon after hearing the first Blitz single and we were completely blown away by it. We then bought the first Oi album and immediately fell in love with the 4-Skins and even covered 'Chaos'. Although Negative Approach weren't an Oi band we were without a doubt heavily influenced by it.
To be honest I think we were all too young and naive to really understand the political agenda of a lot of those English Oi bands. For me it was just great, raw explosive music and although I was aware of some of the extremist views of a lot of the bands (Screwdriver being one) I tried my best to ignore it. Although I considered the Allied a punk band first and foremost we unfortunately started attracting a following that were hugely into the Oi/skinhead thing. In a naive way they took the skinhead thing far too serious and the level of violence at our gigs was really starting to escalate. It made no sense to me how Sham 69 used to sing 'If the Kids Are United' and here were a bunch of skinheads beating everyone up around them. I hated all the violence that surrounded the scene and without a doubt it was one of the main thing that made me turn my back on it.
WBSTYN - Tell me how Negative Approach formed
PZ - John Brannon and I lived in Grosse Pointe just streets from each other and went to the same high school. We were both the only punks in Grosse Pointe (and complete outcasts) at the time and struck up a relationship instantly. At the time I was playing bass in my band called the Sleeves and John was in a band called Static. Static were very glam punk in the vein of the New York Dolls and the Stooges and I was doing my best to be Paul Weller with my band the Sleeves. Although musically we're on opposite sides of the fence it was inevitable that we would end up in a band at some stage just because there was no one else around like us at the time. We started hanging out and going to gigs more frequently and eventually, through meeting the Necros, discovered hardcore.From that initial meeting with the Necros (and seeing Black Flag live) we both knew instantly we wanted to form a hardcore band. John had put a lot of work into Static and was hesitant to leave but listened to my advice and followed me in our first musical venture by forming Negative Approach. We recruited a local skater Rob McCulloch on guitar, who I had met through some skate kids and we brought along an odd Iranian drummer named 'Zuheir' to keep the beat. Before we knew it we had a band name, six songs and we started spray painting 'NA' all over Detroit!
WBSTYN - What were the first NA shows like? What was the reaction?
PZ - It's got to be said that John Brannon as a front man was really the star of that scene. He was the sort of guy who was always meant to be on stage and came alive because of it. In our early bands (Static and the Sleeves) we probably never played to more than 20 people but as soon as NA was formed we instantly started attracting a huge die-hard following. John thrived on this and all the crowd participation/chanting and really transformed himself into an amazing front man. The early gigs were explosive and with each one we played there would be another 30 or so kids in tow with NA stencilled on their shirt or jacket. We never expected to be in the same league as the Necros or Minor Threat but the support we were getting was very strong and so instant we literally moved into the hardcore premiership overnight. What started out as a cool name written on a wall was now a band that was turning into a real force in the Midwest hardcore scene.
WBSTYN - How long were you in NA?
PZ - Probably about a year. John and I were still great friends but musically we were really drifting. Although I loved the impact we were having in the scene I was concerned there was no room to develop musically. I was getting really bored with the 30-second songs and full on thrash approach. At the same time I started getting into the Effiges from Chicago and Iron Cross from Washington D.C. who seemed more in tune with where I was coming from musically. Since the scene was really now starting to take off I also felt it was a great time to produce my first fanzine (Real Threat). Although I always loved playing music my first love was art/photography/journalism and I just saw this as a great chance to get my fanzine started (something I had always wanted to do). It felt like a good time as any to leave the band and I called it a day. John was disappointed but cool about it and immediately they had more like-minded band members in the shape of the OP and Graham from Youth Patrol. Although I was proud of forming NA and steering John in the right direction the new band members really turned them into what people know them for today.
WBSTYN - When did you decide to form The Allied? What was the reason behind it?
PZ - I felt very stifled by the music I was playing in Negative Approach (hence my departure) and after I got my fanzine (the Real Threat) going I felt the urge to start playing music again. Although the music scene in the Midwest was traditionally very diverse, the new bands starting up seemed to lack any really originality and this inspired me to form a band that didn't follow the hardcore/thrash rule book. Influenced by bands like Iron Cross in Washington and The Effigies in Chicago I had a clear idea what I wanted to do with the Allied and enlisted Doug Bashaw on vocals who also shared my views. I loved the energy of hardcore but I wanted to slow the pace down and in a way offer an alternative to what my peers were doing. Although we had a healthy following I was always surprised by the negative reaction to the band just because we were trying something different.
WBSTYN - The Allied seemed a bit more into Brit punk than the other Midwest bands. I mean, NA covered Oi! bands and stuff, but you guys seem to have this legend around you that you were more Brit influenced than the others. Was this a conscious decision?
PZ - You can't ignore your influences, and for better or worse, my musical influences were always rooted deep in British music. From the Stones and the Beatles, to the Clash and the Jam to my current favourite bands like the Arctic Monkeys and the Kaiser Chiefs my musical tastes have always predominantly resided in the UK. Naturally when I put NA and the Allied together my musical influences came across in our sound. Having said that it was never a conscious effort to sound British, and lyrically we sang about the same issues most teenage punks sang about and not about being on the dole and drinking in pubs (we were all straight edge anyway).
It always amazed me how the British influenced tag went against us. We were constantly being accused of not supporting local bands, which couldn't have been further from the truth. It was precisely because of local bands like the Necros that I had the confidence to put a band together that reflected my true musical tastes.
WBSTYN - What were some of the most memorable NA and Allied shows?
PZ - For me it had to be the Freezer Theatre gigs. I spent years going to punk shows in Detroit and the attitude towards anyone under 18 was always so negative it was so refreshing to have the Freezer, which was a place where we made the rules. When hardcore bands used to play, there was sometimes as many as 6-7 bands on the bill. You would be in the crowd one minute and the next you were on the stage. To me this was what punk rock was all about.
WBSTYN - Why did the Allied break up?
PZ - I left the band in late '83, which really resulted in my complete exit from that scene. I was involved in the scene from day one and my life was completely absorbed in everything to do with it for 3 years. Although the early days were fantastic (when we were all united) the scene was really starting to divide as things progressed. The hardcore bands were becoming more and more like heavy metal bands (I detested heavy metal) and the violence that was surrounding the scene was really getting out of control. I just took a step back one day and realised I had very little in common with most of the kids involved. Punk rock to me was always very liberating but I found the close-mindedness of a lot of those kids very difficult to stomach. Regarding my departure from the Allied, I spoke about it with Allied singer Doug Bashaw at length, and although disappointed, he completely understood my reasons for leaving. There were no hard feelings; it was just that I needed to move on. Coincidentally, I only found out recently that they continued as a five piece for another three years (with members of the Displaced) after I left the band.
WBSTYN - When was the 1st NA show? First Allied show?
PZ - The first Negative Approach show was at a party in the basement of Todd Swalla (Necros drummer) in Maumee, Ohio. We had only been together a few months and were completely un-rehearsed but it was an amazing gig. Both John and myself had been in bands before and were used to having NO audience participation (except people throwing things at us) but this gig was completely different. All the Necros and their friends got right behind us with their support which really helped to calm our nerves (we were very nervous). It was that kind of support that really helped to install confidence in us as a band.
WBSTYN - Talk about your fanzine Real Threat and what inspired you to do it. How many issues did you do? What were some memorable reviews or interviews that were in there?
PZ - Although I was always in bands in one form or another I never wanted to pursue music long term as my real passion was always art and design (I'm a graphic designer today). Playing music was always secondary to me so getting the Real Threat off the ground was a big ambition of mine. My inspiration came from all sorts of UK fanzines like 48 Thrills, Sniffing Glue and Ripped and Torn, which were sent over from a cousin of mine in London. These fanzines to me really represented the DIY ethics of punk rock. After the hardcore scene started taking off I started getting into local fanzines like Anonymous, Touch and Go and most importantly the Smegma Journal which Barry Henssler used to publish. Barry taught me the art of photocopying, letrasetting (a primitive form of desk top publishing) and exposed me to a whole range of US/west coast fanzines, which I was completely unfamiliar with. The Midwest scene needed another fanzine to document what was happening and I also saw it as a great opportunity to write about bands a lot of the local kids would never have been exposed to. I loved the whole fanzine process and was amazed at the reaction I used to get from kids all over the world. To this day I still have the original letters from all sorts of Real Threat readers including Thurston Moore, J Mascis, GG Allin and Mensi from the Angelic Upstarts. Because producing a fanzine in 1981 was very time consuming (no Apple Macs, no internet, no email etc) I only ever published two copies of the fanzine. The third issue was just about finished (with an enlightening interview with Ian Mackaye) when I left the Allied, which also shut the doors on the Real Threat.
WBSTYN - How did the scene start to grow? How did everyone know each other?
PZ - When the Midwest scene first started it was just John Brannon and myself, the local skatekids, the Necros and Tesco from Lansing. Within months things really stared to progress and with each show more and more kids would turn up from all over Michigan and Ohio. We would think nothing of piling in a van and driving 3-4 hours just to play to 20 people. It was a very explosive and exciting scene and word of mouth spread very fast.
WBSTYN - What was the Midwest's problem with T.S.O.L.?
PZ - Henry Rollins and the whole Black Flag crew had a big impact on hardcore, and when he left SOA to join Black Flag, a whole new macho attitude seemed to creep into the scene. There were stories of Rollins doing push ups and pumping iron before Black Flag shows and a lot of kids from our scene also adopted this macho stance (myself excluded). TSOL were notorious for wearing face makeup and this was something no self-respecting hardcore band was supposed to do. For everything great about the hardcore scene it was backward attitudes like this that really showed how narrow-minded some of the thinking was. I always found it slightly ironic how a band like the Misfits (who funnily enough also wore face make-up) were completely idolised in our circles whereas TSOL were despised. I personally never liked TSOL, not because they wore make-up (that I didn't have problem with) I just thought they were a dreadful band.
WBSTYN - How big of a help was the presence of the Touch and Go mag? How did you meet Tesco and Dave?
PZ - I think it's safe to say that without Tesco and Dave Midwest hardcore would never have happened. They were not only influential in bringing a lot of those bands together but they also helped us gain a certain amount of respect in the alternative music community through their Touch and Go fanzine. Tesco was also fairly older than most of us and because of this he had a more mature attitude, but when you saw him on stage with the Meatmen, maturity didn't come into it (and I mean that as a big compliment)!
WBSTYN - How did you guys stumble upon the Freezer theatre? Describe the place as vividly as possible. Who was the initial person who found it? Who was the main person who booked it? When did it start having shows? How long did it last? What were the most memorable shows from there? Describe the space the best you can.
PZ - I actually played at the Freezer a year before the hardcore gigs started. I wouldn't say I discovered it but I certainly played a part in getting hardcore bands to play there. When I was playing bass in my first band the Sleeves we found it impossible to get gigs locally because of our ages (we were only 15/16). One night I attended a Rock Against Racism gig at Wayne State University and hooked up with a promoter who also ran the Freezer and I talked him into letting my band the Sleeves play at their next show. Because Rock Against Racism was big with punk bands in England (and I was wearing a Brigade Rosse t-shirt – to look like Joe Strummer) the promoter put us on the bill without even hearing us. We played our first gig at the Freezer with all sorts of Reggae, Soul and Calypso bands. We used to cover (very poorly) Junior Murvin's 'Police and Thieves' and also the Slickers 'Johnny Too Bad' and that was enough to get us several more gigs at the Freezer with the RAR crowd. I also helped John Brannon's first band Static get a gig there but the politically correct audience didn't take to John rolling around the stage on broken beer bottles and smothering himself in toothpaste (Static had a song called Toothpaste and Pills).Once we met up with the Necros we told them about the Freezer and Corey (being the shrewd business man that he was) made a few calls and the next thing we knew there was a gig with about 7 hardcore bands on the bill.
The Freezer itself was nothing more than a deserted shop front stuck in the middle of the Detroit's Cass Corridor (very dangerous and run down area of Detroit). The club itself would hold about 150 people and was without a doubt the home to Midwest Hardcore. We graffited the walls, built the stage and turned it into a place of our own. My most memorable gigs from that time were at the Freezer (especially supporting Minor Threat the night it was closed down) just because it felt like home to most of us.
WBSTYN - How did you feel once you left the Midwest and found out people knew who you were and knew your songs? Were you surprised?
PZ - Completely surprised! Funnily enough it still happens to this day. The biggest shock came a few years ago when I was at a White Stripes gig in London and I met up with Ben Blackwell from Detroit's Dirtbombs. He told me their guitarist (and most of the band) were big Negative Approach fans and they even did a Negative Approach cover at their soundcheck! It was just hard to believe that a band I helped form over twenty years ago still had some relevance today. At the time we thought the band would last about the duration of one of our songs (30 seconds) but somehow we're still talked about today.
WBSTYN - What kind of impact do you think the Midwest scene made on the HC scene back then? What kind of impact do you think it made on culture in general?
PZ - If you talk about American hardcore you can't deny the influence and impact the Midwest had on it. Each scene in the US was very different but I do think the bands from the Midwest certainly had a uniqueness that wasn't displayed in some of the other smaller scenes throughout the country. With bands like the Necros, Negative Approach, L7, Violent Apathy, The Meatmen and the Allied they all had something different about them while still retaining loyalty to each other and the scene around them. Although I didn't agree with all the attitudes that surrounded the Midwest Scene (which were quite sexist and very homophobic at times) at the end of the day it gave many kids the opportunity to look outside the small insular communities they came from and to help them develop ideas of their own to branch out and move forward. To me that's what punk was really all about.
WBSTYN - How do you feel about the legacy the Midwest scene has left? What do you think it was about the Midwest scene that left such an impact? Do you even consider it a legacy?
PZ - I'd say a legacy is a bit of strong word to describe what we left but if we had some impact, and influenced others to do something equally creative, then that can't be a bad thing. My only concern is that I feel kids today should be looking forward not backwards musically and concentrating on developing a scene or musical style that is unique to them (like we tried to do). Punk to me was all about youth and change and progression and it would be great to see another movement which is as exciting as what was happening with punk/hardcore in the early 80's.
Posted by WBSTYN at 1:03 PM 2 comments:
THE HISTORY OF THE FIX PART SIX... The first week of March 1981, the single, "Vengeance" b/w "In This Town" came back from the pressing plant. Tesco and Dave had handled the whole thing. One thing the Fix were not was business savvy. They delivered a couple boxes of the 200 singles to our Beulah Street abode. We promptly set a box of 15 on one of the floor heating vents, melting them into oblivion.
A week later, Craig had set us up a show in Mt. Pleasant, Mich., home of Central Michigan University about 60 miles north of Lansing. We showed up at the joint, hauled our gear up some stairs, and began line checks.
"Wait a minute, what are you doing?" The guy who set up the show came up to Craig, who turned his back immediately. It was something we heard on occasion from weak-kneed sissy bar owners, promoters and soundmen. They wanted to be rock and roll warriors until the real deal hit them in the face. We often had showdowns with them and won, because at the end of the day, they couldn't turn down the guitars on stage.
This time, though, the guy persisted. I jumped in as Craig blared away, tossing chords and notes into a semi-melodic stew.
"This is the band you booked and we're here to play," I told the guy. We had no manager and no contract, but we were not the nicest guys when you tried to fuck us over. Things tended to get stolen and broken, and I always felt we held that card.
"You cannot play that loud in this bar," the guy said. He was a preppy little brat who was used to getting his way. "So turn it down and get it together."
By now Craig had stopped, Mike was unplugging and Jeff was nowhere to be found.
"Fuck you, give us some money, we're leaving," I said. Craig stepped up the attack and seconded my demand for money. He went face to face with the guy and I scooted away, looking for something to steal. Ah, the liquor room was handily set next to the rear load-in door. I pulled two fifths of whiskey and walked out to the van. When I walked back in, Craig was taking down his gear and we were loading out. It was been decided. Here's $50, go home if you want to play that kind of thing.
It happened in places where this music was just taking hold. Episodes like this played to what a guy from the Controllers told me in 1978: "Punk rock turns everyone into their dad." People who might bang their heads to Sabbath or Grand Funk turned to spineless weasels when three chords of fire came their way.
At the end of March, Black Flag came to town to play Club Doo Bee. Fix and Necros opened, the place was packed, and a trio of local police cars sat in a parking lot across from the club. We played a tremendous set, one of our best to date, and Flag went off like a bomb. At a party later at the Beulah house, the place was filled with punks from all over and we hung out and drank 'til 7 a.m. listening to everything from our considerable music collection, from the Pink Fairies and Slade, which seemed to impress the Black Flag guys, to the Damned and the Heartbreakers. Ginn told me he had seen the Ramones a dozen times. Dez was putting some AC/DC on the stereo as I was heading to bed. They were good house guests.
In April, we were invited back to Oz in Chicago, delivering this time to a much fuller house. Babbin was there. He talked, talked some more, and impressed us with his growing knowledge of places to play around the U.S. He was in as manager. It was haste of a higher order that arrived at the decision to do a U.S. tour. The reason was simple: Black Flag did it, we can too. We never even considered that no one would care. It was just what we had to do.
DOA came to town and stayed at our place. We were now part of the network, which was fine. Any band touring at that time was solid and honored the de facto rules of couch crashing. No stealing, no pilfering of existing food supplies unless invited and no phone bills. A bit of cleaning was usually in order as well. It was the Econoline version of wilderness living: Leave it the way your found it.
Over many, many beers, DOA convinced us that touring the U.S. could be done and was fairly easy. Ken Lester sat in our living room and, using a phone card, talked for hours to promoters and, at one point, Jello Biafra. We were impressed. Lester told us that no record label support was needed. Only a van and a phone book full of numbers, which he readily shared. Craig copied them down and we passed them on to Babbin, our new manager. The party that night was limited to our two bands, talking about the shows they had done and what we were up to.
Randy Rampage drank more beer than seemed possible. While Flag had no look other than an aura of menace that was more psychological than physical, DOA dug the fashion. Bandanas on the arms and legs, bleached hair, fat rings and boot chains were part of their deal. When they left our place to go to Club Doo Bee to play, some of the neighborhood kids asked them what band they were in.
"Kiss," Rampage told them without a pause.
Their show was strong but poorly attended. While DOA had been on the road since 1979, their legacy was still growing, a slow bloom rather than the relatively meteoric rise of Black Flag. Not to mention the nonexistent buzz of the Fix.
There were other bands beginning to play out around Michigan by the spring of 1981. Violent Apathy, from Kalamazoo, was a four-piece led a charismatic singer named Ken Knott. VA were eccentric in their approach, featuring a guitar player who could barely find the frets and a drummer who would occasionally fall off his improvised drum stool, his set scattering at the same time. They were green, but they had great heart and we stuck them on as many bills as we could.
The Necros were from Maumee, Ohio, and were starting to get a lot of shows around Detroit. Young, insecure, and slaves to whatever trend happened to be flying around, the Necros brought with them a cadre of junior high school kids wherever they played, who chased each other about like it was recess. The Necros sound was as juvenile as their appearance, a timid blast of sound that had some skill at its heart. When they got Corey Rusk in the band, he instilled some integrity to the operation, just as he turned the little Touch and Go label into an international success.
Little else was going on in the region. While national acts like the Ramones inspired bands everywhere they went, we cared little about legacy in that regard. And it seemed a good thing; we weren't exactly role models.
By May 1981, the Fix was plotting its tour, with Babbin doing his work out of Chicago. I somehow became his point man in the band, and he called me daily to report his progress."Oklahoma City came through, they'll put us on with the Embarrassment," Jon told me one night. It was so foreign to think of playing this music for someone in OK City. I steeled myself for trouble in some of these spots, and wasn't disappointed.
WBSTYN BOOKS SIGNED, SEALED & DELIVERED TO YOUR DOOR
SIGNED copies of 'Why Be Something That You're Not - Detroit Hardcore 1979 - 1985' are available for $15 ppd in the USA and $20 elsewhere.
WBSTYN FUN PACKS are still available for $10 ppd in the USA and $15 elsewhere. FUN PACK includes 3 re-prints of Burp! Fanzine ('zine done by John Brannon and Todd Swalla in the early 80's) as well as a print of a Davo Scheich photo from the Freezer Theatre. Only 100 made.
Payment via PayPal to trettman at hotmail dot com
WBSTYN
An extensive oral history of the Detroit Hardcore Punk scene from '79 to '85 complete with never-before-seen photos, fliers, etc. Slated for release in Summer 2010 by Revelation Records.
CHECK THIS SHIZZ OUT...
WBSTYN ON TWITTER
WBSTYN ON FACEBOOK
REVELATION RECORDS
TOUCH & GO - THE BOOK ON FACEBOOK
TESCO VEE
KILL FROM THE HEART
HARDCORE PUNK SHOW FLYER DATABASE
DIGITIAL FANZINE PRESERVATION SOCIETY
TODD SWALLA TALKIN' EARLY NECROS AND WHATNOT... Ho...
C'MON DOWN TO ASBURY PARK & GET A COLLECTORS ITEM....
BOOKS IN ASBURY PARK THIS FRIDAY FOR THE NA SHOW.....
PETE ZELEWSKI OF NA AND THE ALLIED SITS DOWN FOR A...
THE HISTORY OF THE FIX PART SIX...The first week o...


text:
A lot goes on within our little creative campus. Even more goes on beyond. Find it all below…
You can take a look at the productions that our BA (Hons) Acting, BA (Hons) Dance, Costume and Performance Design and Make-up for Media and Performance students are working on by visiting our box office here.
You can take a look at what's on at TheGallery here.
AUB AlumniAUB Students UnionAUBHumanActingAnimationArchitectureCampusCommercial PhotographyCostumeCreative Events ManagementCreative WritingDanceDrawingFashionFilmFine ArtFoundationGraphic DesignGreenIllustrationInterior ArchitectureMake-UpMaster of ResearchModelmakingMuseum of Design in PlasticsPhotographyPrepHESummer Shows 2018TextilesUniversity NewsVisual CommunicationVisual EffectsWhat's On
Students Create Advertising Campaign for House of Fraser
Photographs taken by a Commercial Photography student from Arts University Bournemouth have been selected for the new Spring/Summer 2011 advertising campaign for men's cult clothing brand Criminal. Faith Mason's images were selected from among...
Ship of Fools' Performance
'Ship of Fools', a new play from Acting students at Arts University Bournemouth is being performed in the aptly named Ocean Room Theatre at Pavilion Dance from the 23rd - 25th March. Directed by Senior Acting Lecturer Ellie Nixon, 'Ship of Fools'...
Graduate Design for The King's Speech
Two graduates from the BA (Hons) Costume with Performance Design degree at The Arts University Bournemouth are celebrating following the phenomenal awards success of 'The King's Speech', the film they both worked on. Over the past few months,...
PHOTOGRAPHY STUDENTS NEED YOUR VOTES!
First year students from the Commercial Photography course at Arts University Bournemouth are hoping for the public to vote for them, after they took part in a live brief for ReSource Magazine during an educational visit to New York. The brief...
Award Winning Photography Exhibition Celebrates the Big Issue's 20th Anniversary
A specially commissioned series of images by renowned photographer Paul Wenham-Clarke, Senior Associate Lecturer at The Arts University Bournemouth, is on display at St Martin?s in the Field in Trafalgar Square, London as part of the celebrations...
Author's Grant Award to Fine Art Lecturer
A Senior Lecturer from The Arts University Bournemouth has been awarded an Author's Grant from the Paul Mellon Centre for Studies in British Art. Dr Pauline Rose, a Senior Lecturer on the BA (Hons) Fine Art course has been awarded the grant to...
Student's Design on ITV's 'This Morning'
Fashion Studies students from The Arts University Bournemouth are exhibiting their collections at London Graduate Fashion Week (LGFW) on Tuesday 7th June. One of the exciting new collections features older women modelling the designs, one being in...
Caroyn Franklin Encourages Fashion Students to Design for Diversity
Students from the BA (Hons) Fashion course at Arts University Bournemouth received a visit from renowned fashion expert and TV presenter Caryn Franklin last week, who spoke to the students about her initiative 'All Walks Beyond the Catwalk', which...
Native American Indians in Dorset
On 17th January, 48 BA (Hons) Acting students from Arts University Bournemouth ventured out in the cold and went to the Ancient Technology Centre (ATC) in Cranborne, Dorset to explore and experience an ancient way of life, in order to immerse...
The Sixties Swing at the Arts University
The Swinging Sixties were celebrated in style at the opening of a new exhibition in The Gallery at The Arts University Bournemouth, showing the work of renowned photographer and University alumnus, Philip Townsend. The exhibition 'Mister Sixties:...
In Zero Degrees
Nina Hove, a BA (Hons) Photography student has beaten off tough competition from across the globe to be placed 3rd in the shots 2011 Young Photographers Competition with her series of portraits entitled 'In Zero Degrees'. The portraits...
Twelfth Night in Styria
Senior Lecturer in Acting, Sean Aita, has just finished directing a production of Twelfth Night in Austria for the Shakespeare in Styria festival. The production, which had two actors from the Acting course at the Arts University also...
« 1 2 3 4 … 78 79 80 81 82 83 84 »


text:
import LSAdapter from 'smack-ember-adapters/adapters/ls-adapter';
import Where from 'npm:where-clause-evaluate';
import compiler from 'npm:smack-js-compiler';

export default LSAdapter;


If what you're looking for is a straightforward discount with no strings attached, then here's 20% off any Match.com membership. It's not a code; you just click over to Match.com through this link and it's built in. You'll set up an account, and pay for the level of membership you choose—all with a 20% discount. You can sign up for 1 month, 3 months, 6 months, a year—it's up to you.
If you would prefer test-driving Match.com before fully buying into the site, then you might be interested in a Match.com Free Trial. It's a 3-day full use of the site. We wrote a more in-depth post about the details of the Match.com Free Trial, but here is the most important caveat: You're still going to have to give them your credit card because if you don't cancel your free trial within the 3 days, then they're going to charge you for a full membership. If you do decide to go with the free trial, you'll want to use this link because you can't just go to the site and sign up for one.
The other option available to you is kind of a discount, but not without you paying up front. Match.com offers a 6-month guarantee that states if during your 6-month membership you do not find someone, Match will give you 6 more months for free. There are a lot of hoops you have to jump through to prove to Match.com that you haven't found someone, but if you read our explanation and follow Match's demands, you could find yourself with a whopping 6 months free. That is, you know, if the first 6 months didn't work for you, which would be a bit sad.
For the time being, if you're wondering how to get a Match.com discount, these are the only options we know that are available to you. But we're always digging and doing research so if we find anything else, we'll make updates or additions as things change.


Bio: This is my third year dancing at Wake 'N Shake and I couldn't be more excited! It gets better every year! I am so thrilled to be on Exec once again helping to find all of our amazing champions for this years event. I am so honored to be dancing for them and for all of those who have been affected by cancer.
Send a donation to Mary Britton to help her campaign!