text:
The Niners Buck the System
The All-Fun All-Stars
Illustration by Casey Burns
The Winners' History of Rock and Roll, Part 4: Aerosmith
How a big, bad drug monster begat a big-business rock band
by Steven Hyden on January 29, 2013
I haven't heard the tapping of canes yet, but where in the beginning it could have been about fun and fuck it all on Friday, now it could be about remember when." —Steven Tyler, 1994, in Rolling Stone
"I'm an entertainer, playing rock and roll, arena rock. In order to do that, you have to make compromises." —Joe Perry, in Walk This Way: The Autobiography of Aerosmith
"See, the hardest thing for me was leaving the life. I still love the life … Everything was for the taking. And now it's all over. And that's the hardest part. Today, everything is different. There's no action." —Gangster and accidental rock critic Henry Hill, Goodfellas
Welcome to the "hump" chapter of The Winners' History of Rock and Roll. So far it's been all rising action, starting in the Wild West of the early 1970s and continuing up through the orderly, corporate culture of rock in the late '80s. We came from the land of the ice and snow and fought the horde. We rocked and rolled all night. We saw a million faces and rocked them all. The first three installments represent the deluxe, VIP-only portion of our journey — the mud-shark-groupie-violating, car-in-the-hotel-swimming-pool-dunking, no-brown-M&Ms-on-the-tour-rider-allowing, multi-million-dollar-contract-spending opening act. We discovered what it took to get here: the relentless touring, the record-label scamming, the vast support network of cunning managers and mercenary songwriters and unscrupulous radio-station employees. Along the way, the sex has been plentiful and the drugs free, delivered by the fistful via sycophants desperate for a few spare minutes in our rarefied orbit. All of our albums have shipped platinum, and every single stadium tour has sold out in minutes. We sensed that ultimate victory in rock was in our sights, we zeroed in, and we made it ours.
It's been fun. If not for the occasional overdose, vehicular homicide, or paternity suit, I'd call it an out-and-out blast. And now it's all over.
It's like that scene in the middle of Goodfellas when Billy Batts is beaten to within an inch of his life by Robert De Niro and Joe Pesci, and then his body is parked outside of Martin Scorsese's mom's house for a few hours, and then he's finally stabbed to death in the trunk of Ray Liotta's car. Or the scene in the middle of Boogie Nights when Little Bill, played by William H. Macy, shoots his wife, her lover, and finally himself at Burt Reynolds's New Year's Eve party. Or the part in The Social Network when Jesse Eisenberg meets Justin Timberlake. These scenes represent the "hump" chapters in their respective stories, the parts when everything that's seemingly right and wonderful starts to go wrong and dark.
This is where we're at right now in The Winners' History of Rock and Roll.
How low are we going to go? Let's take a brief detour to the lowest moment in recent rock history: Woodstock '99. The culmination of nu-metal's tenure as the preimminent sound of mainstream rock music, Woodstock '99 offered up a warped version of a bedrock trope of rock music: The lawless outlaw who cares fuck-all about societal conventions. Where the stars of the original Woodstock — Jimi Hendrix, The Who, The Jefferson Airplane — used nonconformity as a rallying cry for hundreds of thousands of like-minded people to bond together in a new, utopian society forged in music, Limp Bizkit's Fred Durst, Korn's Jonathan Davis, and Kid Rock treated rock stardom not as a means to an end but as the be-all-end-all of a me-first, screw-you lifestyle. And that trickled down to the fans, who tired of paying a small fortune to eat bad food and drink warm bottles of water in the middle of a converted Air Force base situated in the midst of a punishingly arid hellscape. They took out their frustrations on each other — beating and degrading the weak (which mostly meant women) as the music roared out petulant anthems of self-absorption and furious entitlement.
Woodstock '99 illuminated an uncomfortable truth about what happens when masses of humanity are inserted into an uncontrolled environment: If a mob wants to take the social contract by the lapels, douse it in gasoline, and angrily demand to see its tits, a mob will do just that.
After Woodstock '99, the idea that a rock festival could be a metaphor for the hopes and dreams of a generation of young people seemed like a silly, outmoded, even dangerous notion. That same year, Napster revealed that the potential for communities of people to gather around music was best realized in the new online frontier, where a softer brand of lawlessness reigned. The shift of music's hub from a physical to a digital domain, coupled with albums and songs becoming literally worthless in the new world of file-sharing, did a lot to make rock irrelevant in the 21st century. But equally culpable were the hyper-aggressive, über-macho hard-rock bands of the late '90s. If a knobby-bearded, red-hatted jackal like Fred Durst was associated with big arena shows, big-budget music videos, visits to the Playboy Mansion, and shady payola scandals that greased the wheels for platinum popularity,1 well, who would want to emulate that? Limp Bizkit behaved like a third- or fourth-generation copy of a rock band. It was an imitation of Mötley Crüe imitating Van Halen imitating Led Zeppelin and the Stones. And it suddenly seemed really, really fucking stupid and gross.
Previously in The Winners' History of Rock and Roll
Part 1: Led Zeppelin
In the first installment of a new series, we swing the hammer of the gods.
Part 2: Kiss
How four men in face paint made rock real for a nation.
Part 3: Bon Jovi
How the hair-metal pretty boys from New Jersey became one of our last legacy rock bands.
Acting like a rock band was now the opposite of cool. At best, it was kitsch of the ugliest, dumbest order, and could only be enjoyed ironically. Woodstock '99 marks the unofficial beginning of rock's extended (and perhaps permanent) "post-decadent" period — a time when the "sex and drugs" clichés of rock stardom have lost all remnants of their former glamour, and credible rock bands are actively discouraged from acting like the rock bands of the past.
To get at the roots of post-decadence, we must study a band that was originally scheduled to perform at Woodstock '99, only to back out one month before showtime. Because when it comes to embodying and then forsaking the rock-and-roll lifestyle, Aerosmith was truly ahead of its time.
How the story of Aerosmith is told tends to vary depending on the storyteller, but it typically takes on one of two narrative arcs: (1) Aerosmith is a down-and-dirty arena-rock band whose prodigious drug abuse takes on mythical proportions as it records a series of seminal albums that starts with 1974's Get Your Wings,2 peaks with 1976's Rocks, and peters out with 1977's Draw the Line.3 This period is followed by a long, irrelevant epilogue during which Aerosmith later reinvents itself as a cleaned-up MTV favorite and power-ballad machine. (2) Aerosmith is one of the most popular rock bands of the late '80s and early '90s, and continues to release hit albums and popular singles at the height of alt-rock. This period is preceded by a long, irrelevant prologue during which it was a druggy boogie-metal band responsible for songs like "Walk This Way" and "Sweet Emotion," of which teenaged fans are vaguely aware.
The two distinct, solidly independent halves of Aerosmith's career — separated by nearly a decade of infighting, breakups, and the brief reign of former guitarists Jimmy Crespo and Rick Dufay — are unique in rock history, even in an era of multiple classic-rock comebacks. The late '80s were filthy with faded stars from the '60s and '70s rebooting themselves with new albums, glittery new tours, and the fluffiest, shiniest mullets and ponytails. The Stones, The Who, Paul McCartney, Pink Floyd, and AC/DC were among the heavy hitters who either reunited or refocused their attentions on refurbishing broken-down commercial reputations. But only Aerosmith successfully captured a new, younger audience with little or no help from the band's back catalogue.
Today, I probably subscribe to the first version of Aerosmith's history, but as a kid I had no idea there was an alternative to the second narrative. The first Aerosmith album I owned was 1989's Pump, also known as "the one with 'Love in an Elevator' and 'Janie's Got a Gun'"; as far as I knew, it was Aerosmith's second record, after 1987's Permanent Vacation, also known as "the one with 'Dude (Looks Like a Lady)' and 'Rag Doll.'" My introduction to Aerosmith was made by the music video for Run-D.M.C.'s cover of "Walk This Way" and the "Wayne's World" sketch in which Tom Hanks plays an Aerosmith roadie.4 I didn't know about Aerosmith's '70s records, or care, until my early 20s, when I became a fan of music that made me feel like I was accomplishing something important by being intoxicated during 87 percent of my non-sleeping, non-working hours.
Aerosmith's early years center on the old rock-and-roll myth of better creativity through chemistry. By the mid-'70s, and the release of 1975's Toys in the Attic,5 Aerosmith was the most popular rock band among American high school kids. This was due largely to Aerosmith's reputation as a party band; Aerosmith fans were nicknamed "The Blue Army" because of their monochromatic blue-jeaned attire, but "blue" also described the skin color of many audience members after downing too many ludes in the parking lot before the show.6 The patina of mindless drug use surrounding Aerosmith hardly endeared the band to the music press: "They gobbled reds and chug-a-lugged beer," Rolling Stone forlornly tsk-tsked at The Blue Army in a 1976 Aerosmith profile. "Some fell on their faces and tumbled down the hill. The oldest among them could not have been much more than 18 years old … You had to get close enough to see the red of their eyes to realize that this was a generation whose rock & roll rituals had been raised up out of the ashes of Altamont rather than the bright muck of Woodstock."
No matter the lack of idealism in the binging of Aerosmith's listeners, the band itself pursued a creative path predicated on the supposed '60s rock truism that the road to excess leads to the palace of wisdom — or, at the very least, great rock records. With Rocks, self-inflicted brain damage became an accepted byproduct of Aerosmith's artistic process. "There's no doubt that we were doing a lot of drugs by then," Joe Perry says in Walk This Way, "but you can hear that whatever we were doing, it was still working for us." Perry claims that he wrote the riff to Rocks' barnstorming opener, "Back in the Saddle," while he was high on heroin, which Steven Tyler was also abusing throughout the Rocks sessions, along with cocaine and booze.
Perry actually believed that heroin could be a musical aid, a way to unlock a treasure trove of magical guitar riffs inside his mind and heart that could sustain Aerosmith for all eternity. In Walk This Way, Perry says he "started studying the folklore of opium as a sacrament and really got into it. It helped me concentrate on my work and became a good writing tool for me at the time … before it turned into this fucking monster."
It didn't take long for heroin to make its inevitable "fucking monster" transformation inside the Aerosmith camp. For the follow-up to Rocks, Aerosmith did what people consuming massive amount of drugs do: They dumped a shitload of cash into renting out a former convent located on a remote 100-acre tract in upstate New York, and proceeded to play tetherball with their synapses while trying in vain to paint their next masterpiece. Nicknamed The Cenacle, the property proved ideal for a band interested in adventurous experimentation — like firing off a small arsenal of guns in the main house's attic, driving and crashing newly purchased sports cars on the secluded grounds, and inhaling whatever chemicals secured you a front-row seat in the presence of God for several hours.
What The Cenacle wasn't good for was making a coherent album. Anecdotes about the recording of what later became known as Draw the Line are rounded out by the usual Trainspotting-style horror-show details: Perry would wander downstairs, play guitar for 10 minutes, vomit, and then disappear for five days. Tyler was so paranoid that he secretly tape-recorded the crew so he could hear what they said behind his back in the aftermath of one of his coke-fueled tirades. After spending six months and half a million dollars, Aerosmith finally finished off Draw the Line, and its initial "glory years" era along with it.
Once Aerosmith established a second career in the '80s, those old war stories from the Rocks and Draw the Line days were repurposed for a redemption narrative appropriate for a rehab-friendly age. The members of Aerosmith never repented for their sins exactly, but they distanced themselves from their former "bad" selves. Rather than glorify Aerosmith's misspent youth, the band's past was now sold in the media as an obstacle that was overcome on the way to an inspiring revival.
"Aerosmith is that rarest of creatures — a rock band that's hitting its creative and commercial peak twenty years into its career," Rolling Stone's David Wild writes in a 1990 profile titled "The Band That Wouldn't Die." The story runs down "the absurd trimmings" of Aerosmith's lurid past — the $100,000 room-service bills, the trashed Holiday Inn hotel rooms, the "crew members who got more groupie action than their fucked-up bosses"7 — and contrasts it with a "new and improved, clean and sober, happily married Aerosmith" whose personal morality tale had finally culminated. "Jerry Garcia says that we were the druggiest bunch of guys the Grateful Dead ever saw," Steven Tyler says in the article. "They were worried about us, so that gives you some idea of how fucked up and crazy we were." Adds Perry: "Our story is basically that we had it all, and then we pissed it all away." Steven Tyler and Joe Perry, the so-called Toxic Twins and full-blown junkies once upon a time, were now happy to present themselves as characters straight out of "Hip to Be Square."
In reality, it hadn't been that long since Aerosmith had gotten clean. As recently as 1985's Done With Mirrors, Aerosmith's first attempt at a comeback after the return of the temporarily departed Perry and co-guitarist Brad Whitford, the band was still thoroughly mired in drugs. The Run-D.M.C. collaboration on "Walk This Way" revived the public's interest in Aerosmith, but it took the band's management and record label, Geffen, to strong-arm the members into treatment. Permanent Vacation was the first "clean" Aerosmith record — and arguably its first "professional" album, too. Along with accepting outside medical assistance, Aerosmith also took on outside songwriting help at the insistence of Geffen's A&R guy John Kalodner, who played a pivotal role in remaking Aerosmith into a pop-conscious Top 40 act in the post–Bon Jovi world of smiley-face roller-rink metal.
One of Kalodner's guys was none other than Desmond Child, fresh off the success of cowriting "Livin' on a Prayer" and "You Give Love a Bad Name" for Bon Jovi's paradigm-shifting Slippery When Wet.8 Child met with Tyler and quickly polished up two of Permanent Vacation's biggest hits, "Dude (Looks Like a Lady)" and the gushingly melodramatic backseat dry-hump classic "Angel."
"Desmond came in, took Tyler's idea, straightened it out, and made a song out of it," Kalodner says in Walk This Way. "I was just a record company douchebag to them, telling them what to do. And they were resistant. To this day, Tyler says that I ruined his career by making him write 'Angel' with Desmond."
Aerosmith went into 1989's Pump insisting that it wasn't going to use outside writers, but eventually the same hired guns were brought back into the fold — Child cowrote two of the album's best tracks, the hit "What It Takes" and the sorta-hit "F.I.N.E.," and frequent Bryan Adams cohort Jim Vallance pitched in on two other songs. But the album is still largely a triumph of Aerosmith's renewed musical powers — Pump has the most consistent songwriting of any Aerosmith record outside the unbeatable one-two punch of Toys in the Attic and Rocks — and its hard-won sobriety. The behind-the-scenes documentary The Making of Pump is tellingly uneventful and devoid of illicit sniffing or runny noses. What it has instead is a montage of band members working out on exercise equipment, like a Rocky movie, the surest sign yet that the we-finally-got-our-shit-together '80s and '90s Aerosmith had triumphed over the passed-out-on-the-bathroom-floor '70s incarnation.
Aerosmith had flipped its own script: The band once synonymous with addiction was now widely associated with recovery. During the Pump tour, Aerosmith's path occasionally crossed with other bands trying to get off drugs, who came to Steven Tyler as a colorfully be-scarved dispenser of sage advice.
Rehab became its own kind of drug in the band's inner circle — just as Joe Perry had once looked at heroin as a sacrament, the 12-step process was now seen as a cure-all for Aerosmith's ailments. In the summer of 1991, Aerosmith was already seven months into the making of its next album, Get a Grip, and nobody was hearing hit songs. The Aerosmith of the '70s never thought in terms of chart hits, but Aerosmith 2.0 was designed to dominate pop radio and MTV. This was a problem at least as big as puking and nodding off during a session, and Kalodner was leaning hard on Aerosmith manager Tim Collins to turn it around. Collins was already feeling anxiety over the $30 million contract he had negotiated with Sony that was due to kick in once Aerosmith's obligation to Geffen was satisfied.
Collins had only one card to play: rehab. Only nobody in Aerosmith was currently suffering from drug addiction. An intervention for Tyler was staged anyway, and he was shipped off to get treated for sex addiction. Perry, Hamilton, and Whitford were also talked into hospital stints. The idea was to "recharge" Aerosmith's batteries using tried-and-true methods. "'The disease is back. The new addiction is money,'" Hamilton recalls Collins saying in Walk This Way. "I mean, the record's not going well so we gotta go away to a mental hospital for a month? I mean, give me a fuckin' break."
In the end, what saved Get a Grip wasn't hospitals but song doctors and ballads. Of the seven singles released from Get a Grip, all of the rock tracks — including non-starters like "Eat the Rich" and "Shut Up and Dance" — were overshadowed by a trio of country-flavored love songs that sounded virtually identical: "Cryin'" (written with Nashville vet Taylor Rhodes), "Crazy" (with Desmond Child), and "Amazing" (with Jim Vallance). The songs were promoted with a trilogy of music videos on MTV starring Alicia Silverstone (dressed in grunge-endorsed flannel) that ostensibly told a story about a young girl's dalliances with BASE jumping and lap-dancing and Stephen Dorff, but were ultimately as interchangeable as the tracks. Not that it mattered: The videos were a smash, and Get a Grip sold as well as Pump.
Other victories awaited on the horizon in the late '90s and beyond: "I Don't Wanna Miss a Thing," the sort of shameless Diane Warren–penned shopping-mall ballad that Celine Dion made her career on, became Aerosmith's first no. 1 song. Aerosmith was now so safe that it inspired a video game and a roller coaster at Disney World; in 2001, it was invited to perform at the Super Bowl with Britney Spears and 'N Sync. Steven Tyler reintroduced himself to yet another generation of fans as a judge on American Idol, paving the way for 2012's exceptionally mediocre Music From Another Dimension!, the first album of original Aerosmith material in 11 years. And, yes, Desmond Child, Jim Vallance, and Diane Warren were still helping them write would-be hits.
Aerosmith backed out of Woodstock '99 because of a scheduling conflict, but it never really belonged on that stage to begin with. The band had surrendered any semblance of danger in its genetic makeup many years earlier. Did Aerosmith sever itself from the band's former greatness by diluting its essence down to a milquetoast consistency? Or did Aerosmith understand that, in pop music, you go where the audience goes, which means sticking with what sells and chucking the rest — even when "the rest" eventually includes rock and roll?
My heart says the former. But my head knows better. Aerosmith was a drug-fueled rock band when drug-fueled rock bands were big business, it was a non-drug-fueled rock band when non-drug-fueled rock bands were big business, and now it's barely a rock band when rock is barely in business at all. Aerosmith has stuck around because it's not married to a fixed idea of what Aerosmith is supposed to be. It ended up like Henry Hill in Goodfellas — healthy and alive if not exactly vital, hidden in plain sight in a form of witness relocation. Aerosmith changed identities like they were fake mustaches, because survival is everything, even if it means living the rest of your life like a schnook.
Coming up in Part 5: Metallica spent the '80s as the world's most popular "underground" rock band. It entered the '90s determined to take over the mainstream, and succeeded beyond the band's wildest dreams. Next week, I'll look at how Metallica became more reviled as its popularity increased, and what this paradox tells us about the end of the rock audience.
Like the payoffs to radio stations that unleashed Limp Bizkit's breakthrough album Three Dollar Bill Y'all.
Among other things, Get Your Wings invented The Strokes in 30 seconds, 30 years in advance, with this song.
I'm not arguing that using drugs makes a band great. I'm saying that's what people, including Aerosmith themselves, thought at the time, and in some case still believe. I think this is more an instance of correlation, not causation.
"Check. Check. Check one. Sibilance. Sibilance."
Also known as "the one with 'Walk This Way' and 'Sweet Emotion' and seven excellent deep cuts."
Not for nothing, the purchase of Aerosmith concert tickets is an important plot point in Dazed and Confused.
Steven Tyler in Rolling Stone: "I'm still bummed that I didn't get all the pussy I could have had in the '70s … We were more interested in the finer blends of cocaine from a shipment of dates that came in on the back of some camel with the stamp of a half-moon on it and the star of Lebanon, which by the way was laced with opium. We were real connoisseurs. That was much more important to me than some girl with big tits."
See Part 3.
Filed Under: Art, General topics, History
Steven Hyden is a staff writer for Grantland. His first book, Your Favorite Band is Killing Me, will be released in May.
Archive @ Steven_Hyden
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Lib Dems
Victory for Brussels is inevitable. In adopting Chequers, we have gone into battle waving the white flag
Boris Johnson 3 September 2018 • 12:03pm
'The UK has agreed to hand over £40bn for two thirds of diddly squat', writes Boris Johnson Credit: Dario Pignatelli/ Bloomberg
So it's ding ding! Seconds out! And we begin the final round of that international slug fest, the Brexit negotiations. Out of their corners come Dominic Raab and Michel Barnier, shrugging their shoulders and beating their chests – and I just hope you aren't one of those trusting souls who still thinks it could really go either way. The fix is in. The whole thing is about as pre-ordained as a bout between Giant Haystacks and Big Daddy; and in this case, I am afraid, the inevitable outcome is a victory for the EU, with the UK lying flat on the canvas with 12 stars circling symbolically over our semi-conscious head.
I suppose there may be some aspects of the Chequers proposals that they pretend not to like. They may puff about "cherry picking" the single market. There may be some confected groaning and twanging of leotards when it comes to the discussion on free movement. But the reality is that in this negotiation the EU has so far taken every important trick. The UK has agreed to hand over £40 billion of taxpayers' money for two thirds of diddly squat.
In adopting the Chequers proposals, we have gone into battle with the white flag fluttering over our leading tank. If we continue on this basis we will throw away most of the advantages of Brexit. By agreeing to a "common rulebook" with the EU – over which we have no control – we are making it impossible for the UK to be more competitive, to innovate, to deviate, to initiate, and we are ruling out major free trade deals.
If we go ahead with the Chequers proposals, we are forswearing the project of Global Britain – so splendidly articulated by the Prime Minister in her Lancaster House speech of January 17 2017 – and abandoning the notion of the UK as a proud independent economic actor. We will remain in the EU taxi; but this time locked in the boot, with absolutely no say on the destination. We won't have taken back control – we will have lost control. We will serve as a terrible warning to any other EU country thinking of changing its relationship with Brussels: that even the UK, the fifth biggest economy in the world, was unable to break free of the gravitational pull of the EU, and forced to sue for humiliating terms.
Of course I hope that the PM will still change course – and rediscover the elan and dynamism of Lancaster House. With more than two years until the end of the implementation period, there is still ample time to save Brexit. If we are to do so, we must go back to the issue of the Northern Irish border, which has been so ingeniously manipulated – both by Brussels and parts of the UK Government – so as to keep Britain effectively in the customs union and in the single market.
At a glance | Theresa May's Chequers deal
Instead of really tackling the problem of the Irish border we have allowed it to be occluded by myths. It is a myth – pure nonsense – to suggest that there is "no border" today. Of course there is a border. There are two jurisdictions, and on either side you will find plenty of differences: different educational systems, different health systems, different excise duties on diesel or booze – and in so far as there are criminals who exploit those differentials, they face the full sanctions of the law, but away from the border.
It is a myth to say that you could create an effective "hard border" – not with more crossing points than the whole of eastern Europe, and not when any such infrastructure would be a target for criminals of one kind or another. You couldn't make it work even if you wanted to; and no one does.
And above all it is a total myth to say that you need a hard border. You don't need to check people – because we already have the Common Travel Area, and that will be unaffected by Brexit. You don't need to check goods at the frontier, for all sorts of reasons. As it happens, the UK and Ireland are already very sparing in their checks on goods entering from outside the EU – only four per cent get checked by the UK and only one per cent by Ireland. In so far as either side might want to do checks, it could be done away from the border, not least since the volume of trade is so small. Only 5 per cent of Northern Ireland's GDP goes to Ireland, and only 1.6 per cent of Irish exports go to Northern Ireland. There are only about 50 large companies that trade across the frontier, and their goods could be subject to spot checks in warehouses or at points of sale – not at the border. As for small traders and farmers, they should obviously be given a de minimis exemption. For every problem, there is a potential solution.
The tragedy is that as soon as the UK voted for Brexit, the Irish began working on those solutions – and were amazed, as the months went by, to find that the UK was not really interested. We seemed lost in an eternal dither about whether really to leave the customs union and single market. We couldn't make up our minds, for month after month.
Boris Johnson | Read more of his columns
It is now clear that some in the UK Government never wanted solutions. They wanted to use that problem to stop a proper Brexit. Solving Ireland would mean a solution for Dover-Calais, and they didn't really want that. They wanted essentially to stay in, and to create a Brexit in name only.
They have been rumbled. People can see Chequers means disaster. The answer is not to lurch for a Norway or EEA option that is actually more humiliating than Chequers: it would mean taking even more rules from Brussels (on services, for instance) – and does not fix Ireland.
The answer is to go for the one solution that both delivers Brexit and treats all the UK in the same way: a big and generous Free Trade Deal, with intimate partnerships on foreign policy, justice, and all the rest – as adumbrated at Lancaster House.
Of course that means fixing the Irish border problem. It is fixable. The scandal is not that we have failed, but that we have not even tried.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to do string combining and querying with Linq How can I combine variables to a string and use the string in a where condition within a LINQ query? I have tried this:
query = query.Where(p => (p.Cod + p.Year + p.Count).StartsWith("BS201412"));

My variables are as follows:

*

*Cod is of type string

*Year is of type short

*Count is of type int
I have also tried this:
  query = query.Where(p => (p.Cod + SqlFunctions.StringConvert((double) p.Year)+ SqlFunctions.StringConvert((double) p.Count)).StartsWith("BS201412"));

but because of Year the query is not working in both variants.

A: You have many options and two of them are:

*

*use String.Format - it converts automatically every parameter to string

*use the ToString method on the complex variable

Example:
string cod = "BS";
short year = 14;
int count = 100;
Console.WriteLine(String.Format("{0}{1}{2}", cod, year, count));
Console.WriteLine(cod + year.ToString() + count.ToString());

The output is in both cases the same:
BS14100
BS14100

Your query line could look like this:
query = query
        .Where(p => String.Format("{0}{1}{2}", p.Cod, p.Year, p.Count)
        .StartsWith("BS201412"));

Because you are using LINQ2SQL some of the functions can not be used (because they can not be translated to SQL directly). You can try a different approach - it looks like you have the String you want to search for BS201420, so you can partition the string, convert every part to the corresponding type and write a normal query, something like this:
var searchFor = "BS201420";
var cod = searchFor.Substring(0, 2);
// example - use short.TryParse in your code
var year = short.Parse(searchFor.Substring(2, 4));
// example - use int.TryParse in your code
var count = int.Parse(searchFor.Substring(4,2));
query = query.Where(p => p.Cod == cod && p.Year == year && p.Count == count);

This should find the same result set as with the string and starts with.

redpajama_set_name: RedPajamaStackExchange


text:
Trump's New 2020 Strategy? Pompeo Accuses Biden of "Appeasement" on Iran
June 24, 2020 Topic: Politics Region: Americas Blog Brand: The Buzz Tags: 2020Donald TrumpIranIran DealJoe BidenMike Pompeo
The Secretary of State said his comment is "not political."
by Matthew Petti Follow Matthew Petti on Twitter L
Secretary of State Mike Pompeo accused former Vice President Joe Biden of "appeasement" on Iran and China, but claimed that his comment was "not political."
Biden is leading President Donald Trump in the upcoming presidential election by nearly fourteen points, a new poll released Wednesday shows. Pompeo's comment could be a preview of a Trump campaign strategy to take back the initiative as November's elections grow closer.
"You've seen—whether it was the Paris climate accords or the appeasement of the Ayatollah in Iran or the underwriting of the challenge that the Chinese Communist Party presents to the United States of America today," Pompeo told the Hugh Hewitt Show on Tuesday. "There's no reason to think that a President Biden would take any different action."
It's "not political" but "simply an observation" of Biden's record, Pompeo added.
The Trump administration has tried to reverse several Obama-Biden foreign policy initiatives, including the Paris climate accord, which would have committed the United States to reduce its carbon emissions over the coming decades.
Perhaps the biggest point of disagreement between the two administrations has been Iran. President Barack Obama signed a 2015 deal to regulate the Iranian nuclear program, but Trump unleashed a campaign of "maximum pressure" aimed at bringing Iran to heel.
The campaign escalated when U.S. forces assassinated Iran's Major General Qassem Soleimani in January. Trump took credit for the killing in a campaign ad almost immediately after.
But the pressure campaign has failed to extract any diplomatic concessions from Iran, and Democrats say that it has put the United States on a path to an unconstitutional war.
Biden's advisors have called Trump's approach towards Iran a "failure on its own terms" and promised to return to the 2015 deal.
Brian Hook, the State Department official currently overseeing Iranian affairs, has said that "there is not going to be much of [the deal] left to join" by the time Trump leaves office.
Trump and Biden are also both attempting to portray one another as weak on China.
Biden released a campaign ad in April accusing Trump of failing to hold Chinese leadership accountable for the coronavirus pandemic.
"Nobody frustrated the world's efforts to try to get China to change its early behaviors more than Donald Trump did," Sen. Chris Murphy (D-Conn.) told the National Interest in May.
The Chinese government is "desperate to have Sleepy Joe Biden win the presidential race so they can continue to rip-off the United States, as they have done for decades, until I came along!" Trump wrote on Twitter last month.
Pompeo used a meeting with his Chinese counterpart Yang Jiechi in Hawaii last week to bolster his boss's credentials on China.
"I wanted to meet because we have a Chinese Communist Party that is behaving in ways that fundamentally put the American people's security at risk," he told Hugh Hewitt. "I work for a president for the first time in decades who has taken this threat seriously."
Matthew Petti is a national security reporter at the National Interest. Follow him on Twitter: @matthew_petti.
Image: Reuters.


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text:
How to Create Meaningful Spaces in Stories
Holy Ghost Girl by Donna Johnson portrays the author's experience growing up as part of the inner circle of a revivalist preacher.
Every writer has heard this piece of advice: Don't write a scene in a vacuum. Choose a setting that will impact the characters' decisions. Not all settings are created equal. Force two characters to have an argument in the bathroom, and the result will be different than if they have it at the dinner table.
In theory, this advice should be easy to follow, but I can remember my days as a MFA student when I would spin my wheels for days puzzling out which setting would be best and worrying that I was choosing the wrong one. Like most writing "rules," the theory is easier than the application. So, how can we create setting without driving ourselves crazy?
Donna Johnson's memoir, Holy Ghost Girl, was published in 2011 to rave reviews. The New York Times called it "enthralling" and "a sure bet." The book is about Johnson's experience growing up in a family that followed a traveling tent revival led by the preacher David Terrell. The sense of place is vividly palpable in the book, as the first pages of the opening chapter make clear. You can read them here.
How the Story Works
One reason that setting often feels difficult to write is that the places we're considering feel random, as though drawn from a hat of Places to Set a Scene. Sometimes, the solution is to find a place that the characters find meaningful. As real people, we travel through a variety of places every day, but all of us have a handful of places that feel like home, where we are our best or truest selves. Watch how Johnson sets up such a place in the first chapter of the memoir:
The tent waited for us, her canvas wings hovering over a field of stubble that sprouted rusty cans, A&P flyers, bits of glass bottles, and the rolling tatter of trash that migrated through town to settle in an empty lot just beyond the city limits. At dusk, the refuse receded, leaving only the tent, lighted from within, a long golden glow stretched out against a darkening sky. She gathered and sheltered us from a world that told us we were too poor, too white trash, too black, too uneducated, too much of everything that didn't matter and not enough of anything that did. Society, or at least the respectable chunk of it, saw the tent and those of us who traveled with it as a freak show, a rolling asylum that hit town and stirred the local Holy Rollers, along with a few Baptists, Methodists, and even a Presbyterian or two, into a frenzy.
This passage establishes the tent as special in a couple of ways. First, it stresses how unremarkable the setting is: a field of trash at the edge of town. Yet that trash is appropriate because the people who gather there feel "too poor, too white trash, too black, too uneducated, too much of everything that didn't matter and not enough of anything that did." This is an example of characters finding meaning in the things that surround them. Real people do this all the time. They develop attachments to the places they live: small towns, big cities, flat plains, mountains, deserts, rainy places, blue states, and red states. In all likelihood, they didn't consciously choose the place where they live. They were born there and stayed or arrived there out of some necessity. Yet they often appropriate aspects of the place as statements of personal character—the people who live here are good/hardworking/smart/real/whatever. This is exactly what Johnson is doing in this passage.
Secondly, the passage shows the people creating a space that demonstrates some quality about them: "At dusk, the refuse receded, leaving only the tent, lighted from within, a long golden glow stretched out against a darkening sky. She gathered and sheltered us…" It's a cliche that you can learn a lot about people by stepping into their homes, and this passage reveals the truth in the cliche.
Once the memoir establishes the importance of the tent, it spends several paragraphs showing how the tent was put up, the effort and mechanics involved. Because the place matters, so does the upkeep of the place, and it's in these passages that we learn crucial information about the people who gather there:
Local churches sent out volunteers, but most of the work was done by families who followed Brother Terrell from town to town, happy to do the Lord's work for little more than a blessing and whatever Brother Terrell could afford to pass along to them. When he had extra money, they shared in it. He had a reputation as a generous man who "pinched the buffalo off every nickel" that passed through his hands. He employed only two to four "professional" tent men, a fraction of the number employed by organizations of a similar size. The number of employees remained the same over the years even as the size of the tents grew larger. "World's largest tent. World smallest tent crew," was the joke.
Because the tent is so central to the people's identities, it's also central to the story. One chapter begins with unwanted visitors to the tent (the Klan). Another chapter offers some children, including Johnson, the opportunity to escape from the tent for a while and swim in a local pool. In both scenes, the tension results from the changes to setting. The rules—the usual way of being—are upended, which produces a story to tell.
The Writing Exercise
Let's create a meaningful space using Holy Ghost Girl by Donna Johnson as a model:
Choose a character. It's tempting to start with the setting itself, but unless you're writing a story like Jack London's "To Build a Fire" where setting is the entire point, the place is only as important as the character believes it to be. So, choose a character that you've already created, and let's figure out what that character believes is important about the setting.
Locate the character in his/her surroundings. Start with the general. Where does the character spend his/her time? Think about neighborhood, work, commute, church—the basic settings of our lives.
Identify what is unremarkable about those surroundings. We tend to start with what is remarkable or unusual. But it's often the case that people become inured to the peculiarities of where they live—they see them every day and take them for granted. Instead, try listing the things that the character sees or notices every day. What are the things that irritate the character about his/her setting?
Let the character appropriate those aspects as personal qualities. Ironically, it's the little, irritating things in our worlds that we often feel the most attachment to. Johnson writes about how the people who gathered in the tent identified with the trash strewn around them. Try writing a sentence that begins this way: "We were the kind of people" or "They were the kind of people" or "She was the kind of person who…" Can you connect that kind of people they are to those irritating, commonplace parts of their surroundings? Here's an easy example of this: "We were the kind of people who didn't need a lot of money."
Allow the character to create a personal space in those surroundings. In Johnson's memoir, the worshippers construct a sacred place in the midst of the trash, and that place shines into the darkness. In other words, the place makes manifest the hidden, interior parts of the people who gather in it. People do this all the time. Sometimes we literally build shrines to the things that are closest to our hearts. Other times, we build dens or interior spaces that allow us to be our truest selves: they're full of books or NFL gear or Precious Moments figurines. What shelter does your character build to protect against the elements—physical, emotional, and spiritual?
Tags: character development, creative writing exercises, creative writing prompts, Donna Johnson, Holy Ghost Girl, how to write a memoir, how to write setting, religious literature, Texas Writers
Categories Character Development, Genre-Fiction, Plot, Setting the Stakes
← An Interview with Kalpana Narayanan
An Interview with Donna Johnson →
3 Responses to "How to Create Meaningful Spaces in Stories"
An Interview with Donna Johnson | Read to Write Stories - October 2, 2014
[…] To read the first pages of Holy Ghost Girl and an exercise on writing setting, click here. […]
12 Writing Exercises from 2014 | Read to Write Stories - December 30, 2014
[…] The tent waited for us, her canvas wings hovering over a field of stubble that sprouted rusty cans, A&P flyers, bits of glass bottles, and the rolling tatter of trash that migrated through town to settle in an empty lot just beyond the city limits. At dusk, the refuse receded, leaving only the tent, lighted from within, a long golden glow stretched out against a darkening sky. She gathered and sheltered us from a world that told us we were too poor, too white trash, too black, too uneducated, too much of everything that didn't matter and not enough of anything that did. Society, or at least the respectable chunk of it, saw the tent and those of us who traveled with it as a freak show, a rolling asylum that hit town and stirred the local Holy Rollers, along with a few Baptists, Methodists, and even a Presbyterian or two, into a frenzy. (From Holy Ghost Girl by Donna Johnson. Find the entire exercise here.) […]
How to Keep Your NaNoWriMo Novel Alive | Read to Write Stories - November 10, 2015


Although the benefits of aftermarket audio power cables were not widely accepted at the time, Stage III Concepts was the first company to develop and produce audiophile-grade power cables using silver ribbon conductors with air dielectrics, providing audio systems with remarkable (and undeniable) improvements in sonic performance.
All our experience and innovation in this field of audio, has evolved into the A.S.P. KRAKEN; which represents the culmination of 16 years of research, materials evaluation, testing and the invaluable guidance of countless customer comments and listener feedback.
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We developed entirely new, larger gauge AeroStrand Ultra™, air dielectric conductors especially for this cable design; so efficient they can carry more than 40 amperes without the bulk and stiffness of more traditional wire with equal current capacity.
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Anchor railing, bolts, ornamental iron.
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Level, smooth or resurface damaged, spalled or otherwise rough and uneven surfaces prior to covering with other finished flooring.
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Use whenever quick strength gaining and impact resistant epoxy grout is desired.


text:
Nick Cope's Popcast' produced by Terrific Television and Complete Control hits screens
Posted by Rebecca Ash | May 5, 2020 | News |
Nick Cope's Popcast, a mixed media kids' entertainment show commissioned by BBC Children's Head of Content, Cheryl Taylor, went on air on 25th April on CBeebies and will be aired every Saturday at 9:20am. It is currently ranking as one of the 'best to watch on Cbeebies iPlayer".
The new 5 minute music show is the first production from Terrific Television and Complete Control, who came together to pitch for and win the commission for the channel.
Fronted by accomplished singer/songwriter Nick Cope, each episode sees Nick, accompanied by his companion Norman the Whippet, looking for ideas for a new Popcast song as his quirky caravan is transported to a different location. Taking inspiration from his new surroundings, and with the help of "The Popcasters", a team of young children who give Nick ideas and themes to sing about, Nick sits down to write an unforgettable song which is then broadcast to the nation. Songs to feature on the show include 'Baby's Done a Poo', 'I'm a Little Lizard' and 'A Round of Applause for the Dinosaurs'.
Terrific Television, based at Maidstone Studios, co-devised the live action and scripted content working closely with Complete Control who created the distinctive visual and animated style from their picturesque studio in Bath.
The show is now looking at licensing opportunities in publishing, apparel, toys, and creative play.
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Rebecca is the Editorial Director at Total Licensing Ltd. She can be reached at becky@totallicensing.com
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WildBrain CPLG Inks Multiple Deals for Sony Pictures Consumer Products' Portfolio
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The father's world is topsy-turvy. Who are these strangers in his house? Is it his house at all?
This is a heart-rending story about a man who is failing to understand what is happening to him as his memory crumbles, and a daughter who is struggling to come to terms with her father's illness.
A new Welsh translation of Le Père, winner of the Molière Award 2014 for the Best Play, and winner of the competition to Translate a Play into Welsh at the National Eisteddfod of Wales, 2016.
This is a Welsh-language production. The Sibrwd app provides a live audio translation for non Welsh-speakers and Welsh beginners. Full information available here.
Includes a scene with an element of violence which some might find disturbing.
Y Tad will be touring to seven venues across Wales, and there will be a rich participation programme to coincide with the tour. Full dates below.
The talk will be in conducted in welsh. Tickets are free to this event but must be reserved beforehand.
Pre-show talk for Welsh learners (matinee performance). Talk begins at 12.15pm and chaired by Helen Prosser.


Fred and Nancy Cline, owners and founders of Cline Family Cellars in Sonoma have launched Farmhouse, a new line of beyond sustainable red and white wine blends. The 2016 Farmhouse Red (SRP $12.99) and 2017 Farmhouse White (SRP $12.99) will be available soon throughout the nation. For more information, visit www.farmhousenaturalwine.com.
The farmhouse is named in honor of the schoolhouse at the Cline Family's Green String Farm in Petaluma, California, where students from around the globe come to learn the Green String method of sustainable farming. Directed by Bobby Cannard, for decades considered one of the leaders of the Northern California sustainable farming movement and longtime farmer for Alice Waters' Chez Panisse restaurant, the Green String method advocates the long-term health and well-being of the planet. Green String farming practices forgo the use of herbicides, pesticides and other harmful chemicals, relying instead on the use of friendly insects to control pests. Over 1500 sheep and 500 goats are used to remove harmful weeds from the vineyards and compost tea is used to stimulate the biology of the soil. "For years we've been teaching at the Green String farm that happy plants make happy people, and this mentality carries through in each bottle of Farmhouse wine," says Bobby Cannard.
Established in 1982, Cline Family Cellars is a Sonoma, California based winery that produces award-winning Rhône-style wines and Zinfandels, as well as classic Sonoma County varietals including estate grown Pinot Noir, Chardonnay, Pinot Gris and Merlot. With diverse viticulture holdings in areas such as Carneros-Sonoma.


Another bit of light-hearted travelogue far more informative and real than any tourist brochure that I have struggled with to find useful. Having also battled the lines of hopefuls waiting to enter the popular sites, you might have been fortunate to see the less frequented bones below. As for the three young and naive tourists whose holiday you saved from disaster, they probably still warn friends planning their travels to be careful of any strange man close behind them in places where you line up!


Llŷn Walking Holidays was established to accommodate an ever increasing demand for quality customized package holidays in the Llŷn Peninsula area.
We are a family run company with clear vision of what it takes to make a holiday a holiday to remember. That's why we pay extra attention to every aspect of your holiday and every little detail, and strive to give you the best value for your hard earned money.


We provide solutions to the Practice Exercises of the Sixth Edition of Database System Concepts , by Silberschatz, Korth and Sudarshan. These practice exercises are different from the exercises provided in the text. (Solutions to the exercises in the text are available only to instructors.) Students are encouraged to solve the practice exercises on their own, and later use the solutions to check their own solutions.
The material below are copyright by Silberschatz, Korth and Sudarshan 2010. Use of the material is authorized for personal use, and for use in conjunction with a course for which Database System Concepts is the prescribed text. Any use that differs from the above, and any for profit sale of the manual (in any form) requires the consent of the copyright owners; contact Avi Silberschatz (avi@cs.yale.edu) to obtain the copyright owners consent.


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text:
package handlers

import (
	"fmt"
	"net/http"
	"github.com/julienschmidt/httprouter"
	"../constants"
	"encoding/json"
	"../models"
	"../db"
	"strings"
	"bytes"
	"github.com/asaskevich/govalidator"
	"crypto/rand"
	"encoding/base64"
	"time"
)

var CaptchaURL string
var CaptchaSecretKey string
var MissingFieldsError []byte
var EmailInvalidError []byte

var oneHour    time.Duration = 720 * time.Minute

func init(){
	CaptchaURL = constants.CaptchaURL
	CaptchaSecretKey = constants.CaptchaSecretKey
	MissingFieldsError = []byte("Missing Fields")
	EmailInvalidError = []byte("Invalid Email")
}

func CaptchaVerify(w http.ResponseWriter, r *http.Request, _ httprouter.Params) {
	var receivedData models.CaptchaData
	decoderReceivedData := json.NewDecoder(r.Body)
	errReceivedData := decoderReceivedData.Decode(&receivedData)
	defer r.Body.Close()
	if errReceivedData != nil {
		w.WriteHeader(http.StatusBadRequest)
		fmt.Fprint(w, errReceivedData)
		return
	}

	if receivedData.CaptchaResponse == "" || receivedData.Username == "" || receivedData.Email == ""  || receivedData.Organisation == ""{
		w.WriteHeader(http.StatusBadRequest)
		w.Write(MissingFieldsError)
		fmt.Println("Missing Fields")
		return
	}

	if !govalidator.IsEmail(receivedData.Email){
		w.WriteHeader(http.StatusBadRequest)
		w.Write(EmailInvalidError)
		fmt.Println("Invalid Email", receivedData.Email)
		return
	}

	payload := strings.NewReader(getDataToSend(receivedData.CaptchaResponse))
	reqCaptchaVerify, _ := http.NewRequest("POST", CaptchaURL, payload)
	reqCaptchaVerify.Header.Add("content-type", "application/x-www-form-urlencoded")

	resCaptchaVerify, errResCaptcha := http.DefaultClient.Do(reqCaptchaVerify)
	if errResCaptcha!=nil{
		w.WriteHeader(http.StatusInternalServerError)
		fmt.Println(errResCaptcha)
		return
	}

	var verifyResponse models.VerifyCaptchaResponse
	decoderCaptchaVerify := json.NewDecoder(resCaptchaVerify.Body)
	errCaptchaVerify := decoderCaptchaVerify.Decode(&verifyResponse)
	defer resCaptchaVerify.Body.Close()
	if errCaptchaVerify != nil {
		w.WriteHeader(http.StatusInternalServerError)
		fmt.Fprint(w, errCaptchaVerify)
		return
	}

	if verifyResponse.Result == true{
		newCSRF, _ := GenerateRandomString(32)
		plainValue := map[string]string{"value": newCSRF,}
		encodedValue, errCookieEncode := Cookie.Encode("_csrfToken", plainValue)
		if errCookieEncode != nil {
			w.WriteHeader(http.StatusInternalServerError)
			//fmt.Println(errCookieEncode)
		} else{
			//fmt.Println(newCSRF,encodedValue)
			cookie := &http.Cookie{
				Name:  "_csrfToken",
				Value: encodedValue,
				Path:  "/",
				HttpOnly : true,
				Domain: "amazonaws.com",
				Expires: time.Now().Add(oneHour),
			}
			http.SetCookie(w, cookie)
			w.Header().Set("X-Csrf-Token",newCSRF)
			w.WriteHeader(http.StatusOK)
		}
		go addTempUser(receivedData.Username,receivedData.Email,receivedData.Organisation)

	} else{
		w.WriteHeader(http.StatusForbidden)
	}

}

func getDataToSend(captchaResponse string) string {
	var buffer bytes.Buffer
	buffer.WriteString("secret=")
	buffer.WriteString(CaptchaSecretKey)
	buffer.WriteString("&response=")
	buffer.WriteString(captchaResponse)
	return buffer.String()
}

func addTempUser(name,email,org string){
	fmt.Println("Adding", email, name,org)
	done := db.AddTempData(name,email,org)
	if !done{
		fmt.Println("TEMP USER ERROR",name,email,org)
	}
}

func GenerateRandomString(length int) (string, error) {
	x := make([]byte, length)
	_, err := rand.Read(x)

	if err != nil {
		return "", err
	}

	return base64.URLEncoding.EncodeToString(x), err
}

redpajama_set_name: RedPajamaGithub


Honda Racing Corporation confirms Casey Stoner's story at Suzuka. Upon inspection of the crashed bike by HRC engineers, they confirmed that Casey Stoner's throttle remained open despite the fact that the rider tried to close it when approaching the Hairpin turn.
The throttle used on the Endurance bike differs from the stock one Honda puts in the road-legal CBR1000RR version. However, it looks like the race-spec one malfunctioned, and Honda could track the issue to the throttle cable.
Official HRC sources mention that this is the first time when Honda encounters this problem. A new throttle will be designed for the Endurance races, hopefully with fail-safe features that could reduce the risk of a crash.
We remind you that Casey Stoner crashed at high speed in the Hairpin corner at the Suzuka circuit in Japan during the Suzuka 8 Hour endurance race. The Australian rider was forced to lay the bike down as his throttle remained open at 26 degrees through the turn.
He and his bike smashed through the barriers and the MotoGP Legend suffered a fractured scapula/ shoulder blade and a broken tibia in the ankle area. "HRC would like to apologize to Casey Stoner and thank him for the effort he made in attending the Suzuka 8 Hour event," a Honda press release adds.
Stefan Bradl made use of the clauses in his one-year contract with the Swiss team Forward Racing and he is now a free rider. We reported yesterday about the financial troubles Forward Racing is passing through after the arrest of its manager Giovanni Cuzari.
Arrested in Switzerland upon his return from the German GP, Cuzari faces serious allegations of tax evasion, bribery and money laundering, and all his accounts have been frozen. This leaves Forward Racing with no money to travel to Indianapolis for the 9 August US round, and also puts the team's presence at the Czech GP in Brno in question.
The German pilot, 25, is almost back to full physical form after breaking a scaphoid bone at Assen. He understands that simply waiting for Cuzari's problems to be solved is not at all the best thing to do as a rider. Knowing that he will be back at 90 or 100 percent at Indianapolis, Bradl preferred to become free of any binds with a team, and therefore, free to choose a new one.
All eyes turn to Aprilia for the moment. Aprilia Racing Gresini is a full-factory outfit, and this makes it a great choice. Even more, Aprilia sacked Marco Melandri and employs BSB rider Michael Laverty on a race-by-race basis.
For Indianapolis, Laverty seems to be available, so Aprilia is expected to make the final call in this matter. The oldest of the Laverty brothers will not be available for all of the MotoGP races, as some of the British Superbike rounds prevent this, so having Bradl signed for the second half of the season woul certainly feel reassuring.
Even more, Bradl has extensive experience with factory machines, and this could help Aprilia in the development process of their 2016 prototype. The IRTA and Dorna Sports offer full support for the German rider and will not put any obstacles in his way if he files on official request to the racing bodies to acknowledge his new contract with another team.
Meanwhile, an official response is expected from Aprilia. Last-minute news indicate that Giovanni Cuzari's business partner and Chief Financial Officer at his company Media Action, Mario Rezzi, has also been led out of his villa in Paradiso/Switzerland. According to speedweek, the police had him cuffed.


Intel Core i7 Extreme Edition has been launched which has 10-cores for performance hungry geeks!
Intel Core i7 Extreme edition is not the average processor you have in your computer. Nor can we compare it with current generation of Core i7 chipsets. Because this processor has 10 high performance cores & comes with factory unlocked multipliers, which means that the user can simply overclock the processor to unleash a beast from Inside.
The chipset prototype was unveiled at the Computex Taipei 2016.
This was after a long time that we finally hear something credible from Intel. Apparently, there were rumours that Intel was trying to develop an 8 core processor after AMD's Bulldozer chipset which had 8 cores. Now the Intel Core i7 Extreme comes not only in 10 core, but also in 8 & 6 cores respectively. Intel claims that the i7 Extreme can handle 4K Video Editing & Transcoding(Just compare this: My computer crashed when I tried to play a 4K video in Windows. The processor:Intel Core i3, RAM:8GB & Graphics:AMD Radeon HD 5450).
Designed for the extreme performance needs of enthusiasts, the Intel Core i7 Extreme Edition delivers with up to 10 cores and 20 threads, 40 PCIe lanes, and a new Intel Turbo Boost Max Technology 3.0 to cater the most demanding workloads.
The 40 PCIe lanes enable the Motherboards to install more SSDs & supports upto 4 Graphic Cards in SLI. Massive Intel Smart Cache of up to 25 MB and quad-channel memory can improve responsiveness and decreases startup time when working with large files and applications.
The Turbo Boost 3.0 enables applications to switch to the fastest running core in the CPU & hence improves Single threaded processes upto 15%. The chipset also supports 4DDR3 2400 MHz RAM Modules for lightning fast computing tasks.
Wanna get it? Shell out ₹1,13,718(approx) or $1723 & you can take it home!!!


text:
Home Natural Health News Breaking News CRN Announces New Chairman
CRN Announces New Chairman
Washington, D.C. — Jim C. Hyde, vice-president and general manager of Human Nutrition and Pharma at Balchem Corporation, New Hampton, NY, has been elected chairman of the Board of Directors for the Council for Responsible Nutrition (CRN). CRN is the leading trade association for the dietary supplement and functional food industry, representing more than 150 companies. Hyde has served on the CRN's Executive Committee for the last five years.
With his election, Hyde brings 20 years of experience in the dietary supplement industry to CRN. Hyde served as vice president and general counsel for Albion Minerals before being appointed CEO from 2001 to 2016. Albion Minerals is the leading manufacturer of specialty minerals for human and plant nutrition industries. When Balchem acquired Albion Minerals in 2016, Hyde assumed his current position as vice president and general manager of Human Nutrition and Pharma at Balchem, which provides premium ingredients and technology systems for humans, animals and plants, and other industries.
Jim C. Hyde will hold the chairman position through 2018.
Balchem
Jim Hyde
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To Mitcham, where police are seeking a man who drove into the Co-op supermarket on a hoverboard – and drove out with a case of Lucozade, which he forgot to pay for.
Anyone feel a Luozade marketing campaign coming on: Lucozade gives you wings? Or has that been done?


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Waterfront Paradise in Marina del Rey
By Greg Aragon on September 13, 2018
Marina Del Rey offers boutique hotels, great kayaking and beachfront charm. – Photo by Greg Aragon / Beacon Media News
By Greg Aragon
It's hard to call a town with the world's largest man-made marina a hidden gem, but in a way, Marina Del Rey is just that. Located near the larger, more famous areas of Los Angeles such as Venice Beach and Santa Monica, the tiny city can easily be overlooked. But for savvy travelers from around the globe, the place is waterfront paradise.
"Marina del Rey is an urban waterfront playground that offers tourists resort-like amenities, exceptional hotel accommodations, and dining experiences with breathtaking Marina views," says Janet Zaldua, CEO of the Marina del Rey Convention & Visitors Bureau.
I began a recent getaway to Marina del Rey at Jamaica Bay Inn (jamaicabayinn.com), a tropical island-like resort located in the marina, on Mother's Beach, with great views of the sand and water. The boutique hotel is a true West Indies-inspired experience, complete with rattan furnishings, warm colors, rich textures, and lush flora. And like a Caribbean resort, the water is only few steps away.
My room at Jamaica Bay Inn featured a 55-inch flat screen TV, two queen beds with plush linens, an office desk with free Wi-Fi, mini-fridge, Keurig coffee maker, an oversized comfy chair, Molton Brown bath amenities, plush bathrobes and a huge waterfall shower. But the room's best feature was the balcony overlooking the coastal skyline and the marina full of beautiful boats.
Beyond comfortable rooms, the hotel boasts a heated year-round pool with marina views, fitness center, 24-hour lobby business center, on-site bicycle rentals, a gourmet restaurant, banquet and conference rooms, and a location within walking distance to attractions like Venice Beach or the shop district of Abbot Kinney Boulevard.
When not relaxing at Jamaica Bay Inn, I was exploring the rest of town. Built in the early 1960s at the site of an old salt marsh, Marina del Rey is a modern wonder of construction. As one of the world's largest man-made small craft harbors, it features eight basins and is home to approximately 6,500 boats.
To get an up-close look at the water and boats, and some of the luxury condos and new developments lining the shoreline, I rented a kayak from the Pro SUP Shop (prosupshop.com). Located in the parking lot behind Jamaica Bay Inn, the company specializes in stand-up paddle boarding and kayaking and offers lessons daily rentals and lessons by professional ASI & WPA certified instructors.
During my hour tour of the harbor I paddled past million-dollar yachts and old wooden sloops. I waved to small boats passing by and barking seals sunbathing on rocks. Kayaking is not only a great way to see the harbor; it is also a good workout and very relaxing. For those looking to get into paddle boarding or kayaking Mother's Beach in Marina del Rey is probably one of the best places in the Los Angeles area to learn.
After playing on the water, I pulled my boat ashore and headed back to the hotel for a workout in the fitness center and a nap by the pool. I then changed for dinner at Beachside Restaurant & Bar, located next to the lobby. Offering indoor and outdoor dining, the newly redesigned restaurant offers eclectic California cuisine and innovative creations by Executive Chef Victor Morales.
My meal at the Beachside began with a bowl of New England clam chowder, and Ahi tuna tartare, with red Indian curry, charred peanut, cucumber, and avocado. For the main course I had the tender and delicious Meyer lemon and herb chicken with baby carrots, blue lake beans, potato puree and lemon thyme jus.
After dinner I walked to "Mother's" Beach to listen to live music at Marina del Rey's "Food Truck Thursdays" weekly event, where gourmet food trucks and bands welcome in summer every Thursday night from 5 – 9 p.m.
In the morning I rented a bicycle from the hotel and rode to Venice Beach to lounge on the sand and play basketball.
The Jamaica Bay Inn is located at 4175 Admiralty Way, Marina Del Ray, 90292. For more info call (888) 823-5333 or visit: jamaicabayinn.com. For more information on visiting Marina del Rey, visit: visitmarinadelrey.com.
Greg Aragon
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Finding a wine that represents the real good place is a mighty tall order, but the Royal Tokaji Wine Company 2008 Essencia ($40,000/1.5-liter) comes pretty close. As one of only 18 large format bottles released by the Hungarian company, the "delicious sweet wine" decked out in exquisite decanters are described by many as 'heavenly.'" Half bottles are available for $696.
Valter Fissore produces several beautifully crafted offerings of Barolo from the Ravera vineyard in the commune of Novello. His "Vigna Elena" riserva, made entirely from the rosé clone of Nebbiolo, offers remarkable finesse and lightness; it is a stunning wine. Several other producers also offer a Barolo from the Ravera vineyard, including Vietti and Paolo Scavino. The floral notes and charm of this site are apparent in these wines; Ravera today is rightfully acclaimed as one of the most important MGA in the entire zone.


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Arrange the diamond chains on the ground in an arc in front of the wheel.
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least 15 feet and retighten chains. Failure to do so may reduce chain life by 50%.


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Rob Pincus is on the range with the latest from Crimson Trace, the CTA-2104 Tactical Riflescope. Rob has been following Crimson Trace laser sights since their beginning over 25 years ago, and is excited to try out this new product line of magnified glass optics.
MEET THE CTA-2104
The Crimson Trace laser sights CTA-2104 has an illuminated reticle, a modified BDC-type reticle that you can find points of impact for your 5.56mm or .308 rifle, and it's adjustable from 1X to 4X magnification. That means it's great for any close-in work such as 3-gun competitions, or as a patrol rifle optic, or for some hunting applications.
It would also be appropriate for a defensive rifle for home defense or a farm or ranch.
As an illuminated reticle, you have a black reticle when you start, then you can dial that up to a night-vision-friendly mode, all the way up to a brightness level that is set by the rotary dial.
It has ½ MOA click adjustments underneath the protective turret; no tools are needed. It's adjustable up/down, left and right as any optic is.
The reticle adjusts as you zoom in. It starts as a relatively small cluster, but as you go to 4X, you get more image and are able to see the stadia lines.
The CTA-2104 is one in a series of magnified glass optics coming from the company — it's not just Crimson Trace laser sights now, as their new tagline "Complete Focus" states.
RANGE TESTING
Rob demonstrates one of the advantages of having 1-4X. He starts out at 1X, which is good for a patrol rifle or home defense — no magnification. This gives him a wide field of view — a 110-feet field of view at 100 yards. He has a variety of targets set up, the closest at about eight yards, some at 20 to 25 yards, and others at about 40 yards and with small target zones.
Using the reticle as a red dot, he engages the eight- and 20-yard targets. But if he suddenly needs to hit the five-inch plates at 40 yards, he can easily crank the CTA-2104 up to 4X, bring the rifle back up on target, and get the hits. This quick adjustment is perfect for competition, rifle training, or defensive use when you need to make a shot with a high level of precision.
Bipod vs. Improvised Rest
Instructor Don Edwards discusses and demonstrates the differences between shooting with a bipod and shooting from an improvised rest. Both methods can dramatically increase deviation control, but the improvised rest techniques are much more versatile and universal.
22 Magnum Snub Nosed Option
Rob Pincus dispels the theory that a 22mm snub-nosed magnum is preferred over the 38mm option.


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Jubilee Hall Trust are finalists in Sporta Awards 2017!
Jubilee Hall Trust (JHT) has been selected as a finalist in two categories at the annual Sporta awards 2017. Sporta is the national association of leisure and cultural trusts, and its members operate a third of all public leisure centres in the UK with a combined turnover of more than £1billion.
JHT's former Chair, Steve Cabrera, is a finalist in the Trustee of the Year category, in recognition of his outstanding 11 years' service to the charity. Steve was responsible for creating a number of successful partnerships with organisations such as the Big Dance and the NBA, whilst also overseeing a time of significant growth.
The charity has also been nominated for the Successful Partnerships award for the summer energy club at Torriano School in Camden. The programme delivered five weeks of fun physical activity sessions utilising the school's Active Spaces playground, and was visited by 146 different children from 11 different local schools. Whole families were encourage to attend, with activities such as healthy cooking lessons laid on for parents as well as children.
The Sporta judging panel, led by Professor Ken Fox, Emeritus Professor, Exercise and Health Sciences at University of Bristol, sifted hundreds of entries from across the country before deciding on their finalists. The awards offer a chance to champion and showcase the outstanding achievements of trusts over the last year, and this year's ceremony will promote the unique and distinctive nature of the charitable social enterprise model.
The winners will be announced at a gala awards night, hosted by BBC TV presenter Andrew Cotter, on Wednesday 17th May at the ballroom at Sheffield City Hall.
‹ Trustees Wanted - Jubilee...
ukactive announces FLAME ... ›


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Imagine Dragons' "Love" is a powerful reminder that we really are one people. And it is LOVE that truly brings us together. You viewers will appreciate this remarkable song with a timely message. Love... Pass It On.
I AM inspired to pass it on!
I love the commercials. A powerful positive message that makes me think "There is HOPE."
I think the pass it on videos are awesome and sends a powerful message. I would love to be part of sharing this message of love.
Beautiful lyrics. And on point. The only way we will succeed is to move beyond the forces that seek to divide us by using fear, telling us what to be afraid of and whose to blame for it. Listen to each other, celebrate and understand our differences as a strength and work together as one people.
I Love it!! Saw the commercial on tv and have to find it on my phone. I wanted to add it to my Fb page..
I agree completely. Love conquers all. But people don't seem to care, when they know between right and wrong. It's a choice. Love, pass it on.
Amazing song! Love Imagine Dragons and the message!!!
Brought tears to my etes. As a grandmother of two beautiful mixed granddaughters I pray for a better future for them every day! Thank you for showing them there is hope.
Omg! The best lyrics ever! We need love.
Love this song me and my 11year old daughter. Love this song it s song for peace and love !
I love the feeling it sends out a positive vibes. I will share to my family and friends. Thanks you.
You made my day! I love this site!
NICE! I SAW THIS BY ACCIDENT! IT WAS A FLASH ON A TV PROGRAM I WATCHED. I STOPPED AND BACKED UP FRAMES AND FROZE AN IMAGE OF SOMEONE SMOOTHING CONCRETE, SAW WEBISTE, GOOGLED IT! SO IMPRESSIVE THAT I WILL FORWARD TO ALL IN MY CONTACTS! BEAUTIFUL! MEANINGFUL, HOPEFUL MESSAGE THAT WILL MELT STONE COLD HEARTS! Yes, I will pass this ON! And ON! Good work! We all need hope! It is a scary world!
This is beautiful. Wish more people could feel this way. Passing it on!!
Send it to everyone !! Awesome !!
Watching this I feel like I'm home.
What an amazing site! Are you selling anything? Or have you opened up this site to let people see that the world is still an amazing place to live and that people, for the most part, are still good, caring, and respectful of others. Goodness....Pass It On!!!
This is what we hope for...pray for. .work toward..."What a Wonderful World"... it would be, in these chaotic times where everything seems to be falling down around us. We keep hope in our hearts despite it all. And love, always love, in setting example for the little ones growing toward their future.
Love it! A powerful message!


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Mercedes-Benz L 319
Mercedes-Benz L319
Mercedes-Benz L 319 platform with tarpaulin
Sindelfingen load carriers until 1961
Mannheim minibuses until 1961
Düsseldorf after 1961
Tehran, Iran (Iran National) 1967-68 [1][2]
Pickup (stand. and crew cab)
Front engine, rear-wheel drive
Mercedes-Benz T2
The Mercedes-Benz L 319 is a light commercial vehicle built by Mercedes-Benz between 1955 and 1967. Larger than a standard delivery van, but smaller than a conventional light truck of the period, it was the manufacturer's first model in this class. The vehicle was offered with a range of van and truck bodies. Special application and minibus (O 319) variants were also available.
2 Launch
3 Vehicle architecture
4 Running gear
6 Name changes
9 Sources and further reading
Background[edit]
By 1955 Daimler-Benz was well represented in the passenger car market, and also offered commercial operators an extensive range of conventional trucks. The smallest of the trucks, offered in its then current form since 1945, was the Mercedes-Benz L 3500 range. As regards smaller commercial vehicles, during the war, Mercedes was compelled by government imposed rationalisation to manufacture the Opel Blitz truck of its leading competitor, but the company had featured no commercial vehicle of its own below the 3 tonne level since before the war. However, during the early 1950s the success of the Volkswagen panel van and rejuvenated Opel Blitz persuaded Mercedes-Benz that the category was too important to be ignored.
Launch[edit]
Mercedes-Benz O 319 Minibus with panoramic windows
Mercedes-Benz L 319 Fire truck LF 8
The van that premiered at the Frankfurt Motor Show in September 1955 had a gross weight of 3.6 tonnes and a maximum load capacity of 1.6 or 1.8 tonnes according to version. A wide range of body permutations included a panel van, a standard level light truck, a low level light flat-bed truck and various increasingly diverse and elaborate types of minibus. Fire truck variants are particularly well represented among the surviving L319 to be seen in motor museums.
Vehicle architecture[edit]
Mercedes did not follow the Volkswagen rear-engined configuration, but the van nevertheless featured a modern "cab over cabin", without the sort of protruding front bonnet/hood characteristic of the Opel Blitz and larger Mercedes commercial vehicles of the time. Placing the driver at the front of the vehicle ensured a good view out and gave the vehicle a contemporary look as well as maximising load space. But the retention of the forward mounted engine left the driver sharing his cabin with the engine which occupied the floor space between the driver and his passenger, and the body designers also had to take account of a drive-shaft which connected to the rear wheels. The vehicle has a turning radius of 11.5 Meters [3]
Running gear[edit]
Leaf springing and rigid axles had the merit of simplicity and development costs were also kept down by using engines directly from the company's passenger car range. The original L319s shared the 43 hp engine of the Mercedes-Benz 180D. Subsequently, slightly more powerful diesel alternatives were offered along with petrol engined variants.
Assembly[edit]
Initially the vans were assembled at the company's Sindelfingen plant, not far from the Mercedes head office at Untertürkheim. However, in 1958 the company acquired Auto Union in a package of assets that included the Düsseldorf plant where that company had built cars following the loss of its original Zwickau plant to the Soviet occupation zone of Germany in 1945. Mercedes progressively transferred Auto Union car production to a new plant at Ingolstadt and the Düsseldorf facility became (and remains) a plant for Mercedes-Benz commercial vehicle production. Production of the L319 transferred to Düsseldorf in 1961.
The van was also assembled at Vitoria in Spain and in Port Melbourne Australia from CKD kits.
And the minibus version was assembled in Iran by Iran National Company.[4][5]
Name changes[edit]
In 1963 the L 319 designation was abandoned. The vehicles were now branded as the L 405 (diesel powered) and L 407 (petrol / gasoline powered). There was also an L 406 and L 408. This was part of a wider relabelling of the company's commercial vehicle range intended, for the initiated, to identify "weight and output data" in model names.[6]
Replacement[edit]
For the 1968 model year the L319 was replaced by the Mercedes-Benz T2. By this time between 120,000 and 140,000 had been produced.
Buses portal
List of buses
Sources and further reading[edit]
Wikimedia Commons has media related to Mercedes-Benz L 319.
^ "Archived copy". Archived from the original on 2014-04-26. Retrieved 2014-04-24. CS1 maint: archived copy as title (link)
^ http://www.tebyan.net/newindex.aspx?pid=78685&consultationid=723095
^ http://www.autobild.de/klassik/artikel/mercedes-o-319-3729569.html
^ "Mercedes-Benz sponsored historical on-line article". Archived from the original on 2012-04-12. Retrieved 2010-07-15.
« previous — Mercedes-Benz road car timeline, 1946–1970s — next »
Class Type 1940s 1950s 1960s 1970s
4-cylinder Sedan W136
W121 W110 W115 W123
6-cylinder Sedan, Coupé W105 W111 W110 W114
S-class Sedan W187 W180 W111
W128 W111 W108 W116 W126
Coupé W187 W180
W128 W111 C107
Convertible W187 W180
300 Sedan W186 W189 W112 W108
LWB W112 W109
Ultra-luxury Limousine W100
Sports Roadster W121 B2 W113 R107
Coupé W198
Roadster W198
Commercial Van L319 T2
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mercedes-Benz_L_319&oldid=948396018"
Mercedes-Benz vehicles
Vehicles introduced in 1955


Remember that conversation we had a month ago? Check the chatbox archive please.
1) What does "do a big solid" mean?
2) I don't know what your old inbox capacity was, but I raised it to 1000.
3) I'll contact you about the Statbook closer to the start of the war.
Myth, would you be so kind as to help with that?
Say Myth, could you do a big solid and give me back my old inbox capacity? ^^"


text:
Q: ¿Cómo colocar un botón a la derecha en un formulario? Tengo este formulario, pero siento que el lado izquierdo esta muy sobrecargado, por lo que quiero que el botón de "enviar" este en la derecha, y no en la izquierda.

.campo {
    display: flex;
    margin-bottom: 2rem;
}

.campo__label {
    flex: 0 0 9rem;
    text-align: right;
    padding-right: 2rem;
    font-weight: 700;
}

.campo__field {
    flex: 1;
    padding: 1rem;
    border: 1px solid var(--gris);
    border-radius: .5rem;
}

.campo__field--textarea {
    height: 20rem;

}
<form class="formulario">

        Nombre
        <input class="campo__field" type="text" placeholder="Tu Nombre" id="nombre">

        E-mail
        <input class="campo__field"  type="email" placeholder="Tu E-mail" id="email">

        Mensaje
        <textarea class="campo__field campo__field--textarea" id="mensaje"></textarea>

            <input type="submit" value="enviar" class="boton boton--primario">

</form>

Ya intente con justify-content: right;, con margin-rigth: 0;, con float: right;, y ya ni me acuerdo con que mas.
Debe ser algo simple pero simplemente no encuentro la solución.

A: Lo solucionas de esta forma:
.campo:last-child {
    justify-content: flex-end;
}

*

*Seleccionamos el último elemento de aquellos que tienen la clase campo

*Desplazamos al botón de este último elemento a la derecha aprovechando las funcionalidades de flexbox, en este caso justify-content

A: Puedes intentar ponerle un margin-left de 28em por ejemplo al 'boton' respecto a su div para moverlo a la derecha con CSS... o un padding-left al div campo_boton.


text:
47,500 paralysis cases after polio vaccine
28 May, 2012 By meryldorey 3 Comments
This article is reprinted from the excellent website – The Refusers by Michael Belkin (the MB quoted below). Michael's infant daughter, Lyla Rose, died shortly after receiving a Hep B vaccination. Since then, he has researched and discussed this issue publicly as well as singing about it with his band, the Refusers whose latest song – First Do Know Harm – has become a YouTube sensation! Michael Belkin's experience as a financial forecaster and statistician makes him eminently qualified to investigate these issues and, as he says, translate the pharmaceutical 'weasel-speak' into a language everyone can understand – the language of truth.
MB Comment: Polio vaccines are causing paralysis and death in India and the local press is reporting it (not the US press, of course). This article is from the largest circulation English language paper in South India.
The World Health Organization (WHO) and Bill Gates (PATH) are giving each other high-fives for supposedly eliminating polio in India. Meanwhile they are leaving behind a massive epidemic of vaccine-damaged children.
Here it is, transparent for all to see – the modus operandi of vaccinators: Cause medical-textbook-defined neurological damage in the name of disease eradication. It is particularly ironic that the symptoms caused by OPV polio vaccine adverse reactions are the same thing as polio.
Watch Gates and the WHO declare that the 47,500 kids paralyzed by their polio vaccine program in 2011 are all coincidences.
'Dr. Jacob said the increase in the occurrence of non-polio AFP could be directly linked to the massive increase in the dosage of OPV in the name of eradication. Although, the increase in the non-polio AFP was known for quite some time, it was for the first time that a co-relation was established by collating the data of the national polio surveillance, he said.'
*************************************************************************************************
Rise in paralysis cases after polio vaccine
Deccan Chronicle – Deccan Chronicle Holdings Limited is the publisher of largest circulated English Newspaper in South India
Cases of non-polio acute flaccid paralysis, better known as AFP, has sharply increased with the increase in the administration of oral polio vaccination (OPV) in the country under the much-acclaimed polio eradication programme.
According to a report by Dr. Neetu Vashisht and Dr. Jacob Puliyel, appearing in the April-June issue of the Indian Journal of Medical Ethics, the incidence of non-polio AFP had gone up by 12 times over and above the normal rates with the onset of the administration OPV 10 years ago. The report appeared at a time when Kerala is getting prepared for another round of OPV on April 15.
Dr. Jacob, also a member of the national technical advisory group on immunisation and of the working group on food and drug regulation in the 12th Five Year Plan, told DC on Friday that there was a definite co-relation between the increase in the number AFP and the irrational administration of OPV.
Normally, he said, the chances of children under the age of 15 getting affected by non-polio AFP are 1-2 per 100,000. But, the rate of non-polio AFP nationally "is now 12 times higher than expected." In 2011, an additional 47,500 children were newly paralyzed, over and above the standard rate of 2 children per 100,000 non-polio AFP cases, says the paper in the journal.
Dr. Jacob said the increase in the occurrence of non-polio AFP could be directly linked to the massive increase in the dosage of OPV in the name of eradication. Although, the increase in the non-polio AFP was known for quite some time, it was for the first time that a co-relation was established by collating the data of the national polio surveillance, he said.
"It is sad that, even after meticulous surveillance, this large excess in the incidence of paralysis was not investigated as a possible signal."
, nor was any effort made to try and study the mechanism for this spurt in non-polio AFP."
According to Dr Jacob, the dream of eradicating polio will remain a mirage due to the existence of "residual samples of samples virus stored in laboratories, by vaccine-derived polioviruses or by poliovirus that is chemically synthesized with malignant intent".
The increase in non-polio AFP might have been caused by the increase in OPV, leading to virus strains other than that of causing polio getting active, he said.
Filed Under: Vaccines Tagged With: Deccan Chronicle, Flaccid paralysis, India, Polio vaccine, World Health Organization, YouTube
Jo-Ann Markowski says
Gillard was big noting her self not so long ago after another overseas visit reporting how she met with Bill Gates and they talked about eridacating the world from polio – eridcating the world from overpopulation more likely and our taxes are paying for this Juliar who no – one voted for! Is their any doubt in anyones minds where this piece of work that calls herself the prime minister is coming from? and now her mate Roxon wants to cut child benefits if you don't vaccinate, as well as that we have had our water fluoridated, Victorians have been made ill by being exposed to high level electromagnetic energy with the compulsory implementation of smart meters – and they say NSW is next. Come on Aussies now is our chance – lets get rid of them – what about the latest debacle with Union slush funds, Slater and Gordon and Juliar to hit the news. Enough is enough!
18 January, 2014 at 5:57 am
The artcle seems to have been removed…If I click 'read the article' I go to an empty page.
Ursule Durand says
29 December, 2014 at 1:58 am
India to get polio-free status amid rise in acute flaccid paralysis cases
https://www.livemint.com/Politics/XS6vPor5jFX3vKkaE7Ri6H/India-to-get-poliofree-status-amid-rise-in-acute-flaccid-pa.html