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Alcoholics and Drug Addicts in Alcoholics Anonymous
Alcoholics Anonymous is a fellowship of men and women who share their experience, strength, and hope as it relates to recovery from alcoholism. Thousands and thousands of meeting are held daily worldwide. The Alcoholics Anonymous text book has been translated into several languages. And as for recovery rates? "Rarely have we seen a person fail who has thoroughly followed our path…" [Chapter 5, Big Book or here is the Big Book online in its entirety.]
As for my story and how A.A. relates to it; I wouldn't be here today were it not for the Twelve Steps and Traditions and even the fellowship of A.A.
Alcoholics Anonymous meetings are for alcoholics. But increasingly, alcoholics as well as drug addicts are in Alcoholics Anonymous meetings. What does A.A. say about drug addicts in Alcoholics Anonymous? Can a non-alcoholic drug addict be an A.A. member?
Related Article: Prescription Drugs and Painkillers in Alcoholics Anonymous (Aug 17, 2013)
How does A.A. address this? Does A.A. address this? Are "addicts only" welcome? Is it conducive to the group purpose to introduce yourself as an addict or alcoholic/addict? How about if you have no problem with alcohol? Can A.A. still help you? And who enforces the Traditions anyway? These are questions I hope to answer with extensive clarity.
Here is the A.A. preamble to begin with:
Alcoholics Anonymous is a fellowship of men and women who share their experience, strength and hope with each other that they may solve their common problem and help others to recover from alcoholism. The only requirement for membership is a desire to stop drinking. There are no dues or fees for A.A. membership; we are self-supporting through our own contributions. A.A. is not allied with any sect, denomination, politics, organization or institution; does not wish to engage in any controversy; neither endorses nor opposes any causes. Our primary purpose is to stay sober and help other alcoholics achieve sobriety. [Read more at the Alcoholics Anonymous website.]
Twelve Steps Help the Alcoholic Individual
It's been said that the steps are there to keep me from killing myself as I journey onward to sobriety and jokingly said that the Traditions keep me from killing you, another member. Although this is a weak illustration, I think it proves the point rather well. When I came into A.A. I had no idea the Traditions had anything to do with me. I thought they were for people who were in there and knew what they were doing.
Since then, it's been my experience that #1, no one hardly knows what they are doing in the first place and #2, if "they" [others in A.A.] are not following the Traditions, where is my responsibility in that?
My responsibility in that is clear. Since then, I have been led through the Traditions, I have studied them, I have sought their truth. Alcoholics Anonymous – the program itself, as well as the good people in the fellowship itself who were sober – saved my miserable life and now, as one who knows better, it is my responsibility to pass that on.
And I did something last night that, for me, required a great deal of courage. I chair a Beginner's meeting and I have never heard of a Beginner's meeting turning into a Tradition meeting with a Group Conscience flavor. But that's what I did. By God. or By Bill. Whichever.
Twelve Traditions help the Group [to help the Alcoholic]
The Twelve Traditions of Alcoholics Anonymous are a set of guidelines that insure the meetings we have, although perhaps full of the sickest alcoholics in the lot, remain sane and healthy. This, I believe. I have spent years looking at this theory. And every time I see – even "well-adjusted" A.A.'s in a meeting – Traditions going overlooked, denied, or excused, it ALWAYS ALWAYS ALWAYS turns into a very sick "spreading your disease around" point of time. I can be as *healthy* as I pretend to be when I walk into a meeting. But if I sit there and overlook broken Traditions or even contribute to broken Traditions, I am going to walk away either with nothing good from the meeting or "sicker" than when I went in.
When I meet someone through my A.A. meetings, I need to be mindful of Tradition 1 that states: "Our common welfare should come first; personal recovery depends upon A.A. unity." as well as Tradition 5 that states: "Each group has but one primary purpose — to carry its message to the alcoholic who still suffers."
So with our common welfare coming first and with our recovery depending upon A.A. unity, it makes sense to me that we keep our primary purpose in mind lest we deviate into the realm of cursed "sickest group in town" status!
Are you an Alcoholic? Are you an Addict? Are you a Purple Giraffe?
So with all that said, what about the people who come into an A.A. meeting and call themselves addicts? Frankly, I do not care. As I shared with a newcomer, who was loathe to label herself as an alcoholic (but had decided to try to stop drinking),
"You can introduce yourself as a purple green giraffe. The only requirement for A.A. membership is a desire to stop drinking; Not 'to introduce yourself as an alcoholic.'" [From Tradition 3, if you please, that states: "The only requirement for A.A. membership is a desire to stop drinking."]
With that said, at my personal core, if asked, I discourage people from saying, "My name is ____ and I'm an alcoholic and addict." It's because it dilutes the A.A. message. It dilutes our purpose from being there. What if I introduced myself as an alcoholic and a sugar addict and an approval addict and everything else I am trying to improve upon? And more than that, what's the point?
Over here at An Alcoholics Story in his article "Alcoholic/Addict", the author asks "Why?" to the thought, "Why do some people in an Alcoholics Anonymous meeting say, 'I'm an alcoholic and addict'?"
I responded (and with much fervor at that!) to the article because it's been coming around for me lately.
I have a sponsee and we talked about this last week. She began introducing herself as an addict, not knowing she was an alcoholic til her 4th step. Discovering she was an alcoholic she added "and alcoholic" into her introduction.
So then I began wondering about our singleness of purpose and my responsibility to the 12 Traditions.
Ergo, we had a conversation that went along the lines of, "I don't say I am an alcoholic and a sugar addict do I?" or "I am an alcoholic and a codependent in recovery." …and on it went.
The point being that alcoholism comes with it – by it's nature – many other manifestations and to scramble to the bottom or to the top of the heap, what am I trying to prove? Am I *more* special by being *more screwed up?* or am I trying to deviate from the AA singleness of purpose by *warning you AA people* that my story may involve drugs?
Listen. I am a Traditions person and people who introduce themselves as addicts AND alcoholics are not aligning their spirits to the Traditions. That's exactly how I look at it. … I have been in a meeting of 15 people where 12 of them introduced themselves as both. Had I been a newcomer I would have felt like I did not belong.
So then…where DOES an alcoholic go who wants to save her life when AA begins not acknowledging the repercussions of overlooking the Traditions? The Traditions are what keep us Alcoholics Anonymous.
I've worked with – and been worked on – by all sorts in the 12 Step Recovering Community because after getting sober is when my manifested "other symptoms" became prominent – such as anorexia, self-injuring, people-pleasing, and even sugar addiction. Does this mean that I should have begun sharing all these other labels at my A.A. meeting? No. Vehemently, no.
Are some addicts really saying that for implicit permission to discuss their drug use; to turn our A.A. meeting into an N.A. one? You betcha! [Check out that pamphlet to the lower left.]
So did you catch my truth on that? Let me specify with another story because you know – that's what I do best.
Are you an Addict at an A.A. Meeting?
Last Tuesday I needed an A.A. meeting. I wanted to connect with some friends and needed some recovery talk with "my people." Maybe a third of the people in the room introduced themselves as addicts and maybe a third introduced themselves as alcoholics and another third as alcoholic and addict. It was a Closed meeting [meaning not just anyone is welcome. People with a desire to stop drinking were the only ones welcome and this means people who usually call themselves alcoholics.]
But before the meeting got underway, when the chairperson asked if any newcomers in the room, a woman spoke up as an addict and told a room full of recovering drunks that she's never had a problem with alcohol; that her *thing* was cocaine [although it was crack and this became pertinent later] but she did not want to go to an N.A. meeting because "more people came to this one".
So this woman was basically – introducing herself as an addict aside – sharing with us that she did not have a desire to stop drinking and that her plan was to become a member here because she did not like the N.A. [Narcotics Anonymous] meetings. This next part may confuse non A.A. Members so if you're reading this just for kicks and giggles, skip on over til you get to the next blue sub-heading. But it didn't stop there.
Then when we went around the room to introduce ourselves when it came back to almost her, instead of letting the man speak beside her, she said, "Oh and he's nothing. He doesn't drink or do drugs or anything. He's a really good friend who just drove me to this meeting." So crackhead lady speaks on this man's behalf, which I personally thought was emasculating – and then hushed him up [ssssh! it's okay] when he tried to speak on his own behalf. Talk about from sick to sicker. I watched this in slight amusement which would have been even more amusing, had I not felt like I needed this meeting; This CLOSED meeting.
Open Meeting versus Closed: Opening a Closed Meeting?
I wondered what my friend – who was chairing the meeting – was going to do.
- Would she be brave and courageous and do the hard thing and explain to them what a CLOSED meeting was, thereby inviting them to leave?
- Would she be brave and courageous – kinda – and explain what a CLOSED meeting was and *overlook* that they were BOTH not there for A.A. recovery?
- Or would she pretend there was no difference and keep going? Or maybe she really didn't know the difference? [And keep going.] Because yes, friends, some chairpeople do not know.
- OR would she completely wimp out and – ignoring the needs of the alcoholics who may have travelled long distances to get there for a CLOSED meeting – "OPEN the meeting with an-in-name-only 'mini-group conscience'" so that she would not have to make the hard-yet-Tradition-aligning decision of #1?
She did #4. I thought she'd pull a number 1 because she's *my* friend and she's a hard-ass. Let me clarify. She's a hard-ass when it comes to working with people and their steps but this example has shown me that she is a softy marshmallow when it comes to invoking the Traditions.
So when she announced the meeting as OPEN I raised my hand to speak. She called on me in a room full of quiet.
"I want to share that although this has now become an OPEN meeting from a CLOSED that there is only one difference; Anyone can be in attendance at an OPEN meeting. In both cases, however, we still abide the Traditions and abide our singleness of purpose. This means that we still discuss our problems as they relate to alcohol."
That was about it. I do think it's unfair and not wholly correct to "open" a closed meeting and no one would ever see me doing it. What if every chairperson open a closed meeting every time a visitor showed up? Again. It takes away from the alcoholic who has traveled there for a closed meeting. Not to mention, the group who decided it would be a closed meeting already decided it was a closed meeting. Opening it up the moment it begins, defers to visitors and usurps the Group Conscience who, for all we know, had unanimity with the decision to make it a Closed Meeting in the first place. It's just wrong on many levels, in my opinion.
Toward the end of that meeting, drug addict woman shared that she had not felt comfortable sharing about her addiction and then nodded over at me and said, "Because you know…" I nearly laughed out loud so I stifled a personal smile instead. So all in all, the fact I needed a meeting turned out to be I think I needed comic relief. :) My group got 10 bonus points from me that night in not back-peddling with, "Oh you can share about your crackhead experience!" due to her transparent manipulation. [Yes, she was manipulative with that statement. Hence….good segue into the next section.]
Alcoholics Anonymous does not serve the Addict
Alcoholics are different than Addicts and even if they are exactly the same – watch this. In an A.A. meeting, I share my experience, strength, and hope as it relates to recovery from alcohol. How is a crackhead going to feel as if she fits in? Let's get honest here. This poor woman has done things for her drugs I couldn't imagine doing unless *I* too had suffered the same addiction. She probably looks at me like a goody goody quite honestly and I can see how.
There is either a newer and deeper level of manipulation or even up into a criminal element going on with drug addicts that pure alcoholics can not relate to. I did not have to hit the streets and develop a thicker skin in order to survive to get my liquor. The lowest I ever went was going to a crummy ABC store in a rancid part of town. My *addiction* did not rely on really low levels of manipulation; Sure I lied to people who questioned about how much I drank but I would hardly have called myself a "con-artist" or a "thief" which is what I hear when I visit the N.A. meetings. My friends were not people who were familiar with jail or street drugs and how to get them. Now I did have friends – I found out – who doctor shopped which is still an addict but maybe the deep criminal element is missing here.
A true difference is that there are people who drink alcohol and who do not "turn" alcoholic. They suffer no weird phenomenon of craving that the A.A. Big Book talks about and specifically in the Doctor's Opinion. I have never had a former crackhead friend explain to me he kept crack on the coffee table and offered it up when guests came to visit. Have you ever heard of someone socially shooting heroin? Even "normal" people – not having a problem with alcohol in the past – can develop addiction through prescribed pain medicine; My point being that you don't have to be "chemically different" in order to be an addict.
You DO have to be chemically different than *normal* people to be an alcoholic.
See the Doctor's Opinion in the Big Book regarding this chemical difference. Or try to understand- for you non-alcoholics- what it must be like to have one beer only… to then crave the next one. Once an alcoholic inputs alcohol into her system, this weird phenomena of craving starts and nothing can assuage that intense craving other than more alcohol. If we never picked up the first drink, we'd be cherry. Alcoholics Anonymous gave me the tools to learn how to stay away from the first drink. It's really that easy. Some tools may work for others that is not A.A., but A.A. worked for me. Maybe something else would have worked for me instead, but this is what did it. So I tend to stick with what works. Not to mention, I am happy. [Small detail? Nah. :)]
But all this talk of addicts differing from alcoholics…? Not pertinent as it relates to A.A. meetings. These are just my thoughts on the differences. A.A. has another pamphlet I cannot find online, but it's a shorter version of the pamphlet above that actually has the questions answered as they pertain to addicts in A.A. I guess G.S.O. had to answer them point blank, finally, because people in A.A. seem to be so wary of excluding anyone. That, or ignorant of the Twelve Traditions.
Alcoholics Anonymous Traditions Exclude the Addict from Membership
When I chaired my Newcomers – or Beginners – Meeting last night and read the short pamphlet still entitled, "Problems other than Alcohol" that I took from our very own pamphlet kiosk, can you believe that people with 10 plus years of claimed sobriety via A.A.; via Alcoholics Anonymous [I say this because it's important to differentiate that people who are sober not through A.A. should and would have no reason to know of the A.A. Traditions], really did say, "I think we might have to call New York and ask them the official response."
Thank goodness someone who was there referred back to what I'd just read after saying, "It doesn't get any clearer than this…"
(1) Can a nonalcoholic pill or drug addict become an A.A. member? No.
(2) Can such a person be brought, as a visitor, to an open A.A. meeting for help and inspiration? Yes.
(3) Can a pill or drug taker, who also has a genuine alcoholic history, become a member of A.A.? Yes.
(4) Should these nonalcoholic pill or drug users be led to believe that they have become A.A. members? No.
These questions – AND answers – came straight from the shorter version pamphlet like the one above entitled, "Problems other than Alcohol" and it's straight from A.A. World Service; ie, New York. So you see? I read it straight out the little short pamphlet, emphasized the answers, and still there was a comment of confusion deviating from the truth.
One more time: "Nonalcoholics are not A.A. members because there is only one requirement for membership and that is a desire to stop drinking." If there is a desire to stop smoking crack, wonderful. Has nothing to do with A.A., though because that is an outside issue. [Tradition 10. Alcoholics Anonymous has no opinion on outside issues; hence the A.A. name ought never be drawn into public controversy.]
Alcoholics Anonymous Traditions Enforcement Police
I was a member of the ever-elusive A.A. Traditions police. We don't wear badges and we're a secret society in that we never actually tell anyone we're the Traditions Police. This is a joke.
If you currently have about a year sober in Alcoholics Anonymous and find yourself pointing out how groups are doing it wrong or how someone broke a *rule* or still use "she should have…" or are often blaming people or groups or situations for why you could not so and so, then you're a member of the Traditions Police now, too. Welcome aboard. [Just Kidding.]
To avoid being a member of the Traditions Police – because the most miserable member in a group will always belong to the Traditions Police Force – it may help to remember some sayings…
- Live and let Live. Easy Does it. First things First. [Let people be where they are.]
- A good bad example. [When all else fails I just think that maybe I need to see this.]
- I am responsible. [If I think YOU need to be responsible but not me, that's backwards.]
- Love and tolerance is our code. [Straight from the Big Book right here (Pg. 84).]
- The only requirement for membership is a desire to stop drinking. [NOT "do it right."]
What about Alcoholics Anonymous Tradition Breaks in Groups?
Alcoholics Anonymous is about as anarchy as it gets but, for an institution with no rules of any kind, the Traditions are there so that we insure A.A.'s survival. It's that easy. If A.A. does not survive, the alcoholic who wants recovery will not have A.A. to turn to.
Jokingly I reference the term, "Traditions Police" to those people who have been where I am talking about. The miserable people who see the harm over the help. Who see the bad over the good. Who see the error rather than the forgiveness. Who see the pill poppers over the recovering examples. But in real life, there really *are* groups who break Traditions to such an extent that it's a goddamned miracle when there is any kind of sobriety to be had by any individual. [I came from one such group and yes my sobriety was and is a miracle.]
I am well aware that people say A.A. is a cult. I address that in several posts already with basically the same sentiment that anything can turn into a cult when you get control freaks involved. [I would suggest codependent recovery if control freaks control you in A.A. or outside A.A.]
Here is how I explained it to a friend. In keeping with Tradition 2 which states For our group purpose there is but one ultimate authority- a loving God as He may express Himself in our group conscience. Our leaders are but trusted servants; they do not govern how is that we "enforce" these traditions?
We Become the Walking Example of the Traditions
Non-complicated answer: By being the example.
We are the example. We learn the Traditions. We ask to go over them with our sponsor or someone who knows them. We study them. We live them and particularly in meetings. We, in effect, become "armed with the facts about ourselves" as those facts relate to the group. You know how in the Big Book it says we cannot transmit something we do not have? Well, if we have legitimate complaints about the group or problems with the group, let's get to the reasons why.
What Traditions are going unobserved? How could the meetings improve in carrying the message to alcoholics? Perhaps our group needs a "Group Inventory?" We take time to learn these things while also realizing it "takes time to learn these things." :)
We study the Traditions in the Twelve Steps and Twelve Traditions for example. We grow to understand terms like "Group Conscience" and the "Twelve Concepts." We take advantage of the internet in looking up other Group experiences. :) We read the literature from G.S.O. that is often in any A.A. kiosk at a meeting clubhouse. [If we cannot read we get what we can on tape or ask someone to read the literature to us and we discuss it with someone who has experience with the service structure.]
The program of Alcoholics Anonymous is the Twelve Steps, found in the Big Book. The group purpose of Alcoholics Anonymous as shared in the Traditions, is to carry the message to alcoholics. The message being how we got sober, get sober, stay sober, and so forth. The Twelve Traditions are to guide the groups so that we can best serve the alcoholics. They are not meant to be mean, elitist or exclusionary but are meant to be necessary for the welfare of the group. If we do not carry this message, who will? The onus is upon each of us who know better and this often requires – for me at least – courage.
But courage to speak up or do the next right thing should not be insurmountable when you understand that you do have the Traditions on your side. Remember. This is not your "best thinking" that you're sharing and striving toward. They are principles founded and based upon the Twelve Traditions [and even Steps sometimes], and in that, how can you go wrong?


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this gym's atmosphere is friendly for the most part. They have a daycare with friendly workers and they also offer various aerobics classes....
Total Fitness was founded in 2001. Total Fitness specializes in Health Club.
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Visual Arts Flanders 2012
Discover contemporary art throughout Flanders, Belgium in 2012!
2012 brings the coinciding of important exhibitions of visual art taking place in Flanders, Belgium: Beaufort04, TRACK, Middelheim Museum 2012, Manifesta 9 and Newtopia – The State of Human Rights. The convenient geographic location and the shared focus on contemporary art of these five events have triggered the creation of an international communication platform that comprehends all of these appealing events into one coherent cluster.
In 2012 Belgium's neighbouring countries also offer major happenings in contemporary art such as dOCUMENTA (13) (Kassel, Germany), London 2012 Festival, Finale of the Cultural Olympiad (UK), Fantastic / lille3000: (France) and MONO (Centre Pompidou-Metz, France together with Mudam, Luxembourg).
Visual Arts Flanders 2012 is convinced that the high quality standard of each of the five exhibitions represented will persuade the arts professional to also stop over in Flanders when travelling to art events in Belgium's neighbouring countries.
The five cities where the events take place are geographically positioned in the region of Flanders, no more than an hour away from Brussels and at almost equal travelling distance from the exhibitions in Belgium's neighbouring countries. Travelling to and from one of the five cities/areas is easy and fast by means of plane, high-speed train or car.
The Visual Arts Flanders 2012 coordination centre is a joint initiative of the Flemish Institute for Visual, Audiovisual and Media Art (BAM), the Flemish Arts and Heritage Agency and the 5 participating organisations.
Visual Art Flanders 2012 Cluster:
Beaufort04 – Triennial of Contemporary Art by the sea
March 31–September 30, 2012
Location: Belgian Coast
Curator: Phillip Van den Bossche
TRACK – a contemporary city conversation
May 12–September 16, 2012
Location: Ghent
Curators: Philippe Van Cauteren and Mirjam Varadinis
Middelheim Museum 2012 – A reinvented open air museum
From May 26, 2012
Location: Antwerp
Curator: Paul Robbrecht
Manifesta 9 – The Deep of the Modern
June 2–September 30, 2012
Location: Former coalmine Waterschei, Genk, Limburg, Belgium
Curator: Cuauhtémoc Medina
Associate Curators: Dawn Ades and Katerina Gregos
Newtopia – The State of Human Rights
September 1–December 10, 2012
Location: Mechelen
Curator: Katerina Gregos
Also in Belgium
Jimmie Durham – M HKA, Antwerp
May 24–November 18, 2012
Sense of Place – BOZAR, Brussels
June 14–September 16, 2012
Un-Scene II – WIELS, Brussels
June 23–August 26, 2012
Sol LeWitt, Colors – M-Museum, Leuven
June 21–October 14, 2012
Te Kust en te Keur – Mu.ZEE, Ostend
March 31–September 30, 2012
Visual Arts Flanders 2012: a contemporary arts programme within easy reach
Following the press preview of Manifesta 9 in Genk, Visual Arts Flanders 2012 invites you to discover the other Visual Arts Flanders 2012 exhibitions during the first weekend of June: Beaufort04 (Belgian coast), TRACK (Ghent) and Middelheim Museum 2012 (Antwerp). Getting a taste of Newtopia – The State of Human Rights (Mechelen) can be facilitated by interview opportunities with the curator.
To make the most of your visit to Belgium we recommend you stay at:
Ghent to visit TRACK, Beaufort04 and Te Kust en te Keur at Mu.ZEE
Antwerp to visit Middelheim Museum 2012 and Jimmie Durham at M HKA
Leuven to visit Sol LeWitt, Colors at M-Leuven, Un-Scene II at WIELS and Sense of Place at BOZAR in Brussels
Ostend to visit Beaufort04 and Te Kust en te Keur at Mu.ZEE
A press trip will be organized. More information can be obtained via: charline.adriaens [at] bamart.be before May 1st, 2012. Participation will be confirmed on a first come first served basis.
Register for our press section or request your accreditation at www.visualartsflanders2012.be/press.
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Kiwi triathlete Andrea Hewitt's swim coach is delighted with her start to the year.
Hewitt has won the opening two rounds of the world triathlon series with her latest victory on the Gold Coast on Saturday.
Roly Crichton coaches paralympic star Sophie Pascoe and has also worked with Hewitt whenever she has returned home to Christchurch.
He says Saturday's victory was a perfect dress-rehearsal for for next year's Commonwealth Games.
Next year's race will also be on the same course and also over the sprint distance
The only downside for Hewitt was getting beaten up rounding the first mark in the swim, but Crichton says she is well equipped to deal with rough situations in the water having been a national surf life saving rep.


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Do not risk using a custom essay writing service that offers cheap prices and deadlines that seem too good to be true. A thesis or dissertation cannot be created in a few days, as they often promise. We ask that our clients plan ahead and give us an appropriate amount of time to create the ordered work properly and in an academically-sound manner. Relative to pricing, we have flexible pricing charts which our customers may check at any time, and the cost relates to the type of work, the complexity of research involved, the academic level (high school, undergraduate, or graduate), and the deadline requirement. Maintaining exceptional writers means we pay them well!
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Inspirational Stories
A Legacy of Heart
Dorothy McFarlane left a large charitable gift to Burnaby Hospital Foundation when she departed this world in July 2014. Her relatives, Brent and Sandy Roy, were proud, but not surprised; Dorothy's last wishes were in step with all that she'd appreciated and cherished about life.
When Every Minute Counts
An expectant mother's intuition is resilient and she knows intuitively when something feels wrong during her pregnancy. It's a gut feeling. If she senses danger to her unborn baby, she will be anxious, consumed with emotion — and if life hangs in the balance — she will be terrified. This was Heather Sinclair's experience.
First-time parents, Heather and her husband, Jamie, eagerly awaited the birth of their son in January 2015.
"January 15 was one of the most frightening and exciting days of my life," says Heather. "That's the day I became a mother to my beautiful baby boy, Owen. But it's also the day we almost lost him."
The Heart Tells a Story
If there was ever a perfect moment to trust your intuition, Enzo chose that moment. And it saved his life.
Friday night, September 18, 2015, was almost Enzo Ricardi's his last night on this earth; he suffered a massive heart attack. At only 47 years old, Enzo might have been excused for dismissing the strange electrical current that seemed to shoot from his fingers to his shoulder. Yet, he'd felt that odd sensation earlier in the day too, and his instinct pushed him toward the emergency department at Burnaby hospital.
Helping is a Family Affair
Giving back to their hospital is 'all in the family' for the Gardners, who have called Burnaby their home for over 50 years.
James and Catherine Gardner have lived in Burnaby for more than 50 years with their daughter Pamela, who runs a local business in the city.
Giving Back is Good Business
Longtime Burnaby businessman Bob Goble values his community and supports Burnaby Hospital.
When Bob Goble got his first job in the late 1940s working part-time at the Safeway on Gilmore and Hastings in Burnaby, he never dreamed he'd be acquiring the skills he'd need to start his own business.


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What'S next
Katrina joins Arizona Opera for their 2017-2018 season as a Marion Roose Pullin Studio Artist.
The Oregonian praises soprano Katrina Galka for her recent performances of Adina in L'elisir d'amore, exclaiming that she "looked like a young Glenn Close, projecting power over Nemorino as she thrilled with fine coloratura filigree and pure high notes." In the 2017-18 season, she returns to Portland Opera to debut the role of Gilda in Rigoletto. She also returns to Arizona Opera as Cunegonde in Candide, Rosina in Il barbiere di Siviglia, Woglinde in Das Rheingold, and a quartet of roles in Morganelli's Hercules vs Vampires as well as joins the Las Vegas Philharmonic for Handel's Messiah. Last season, she made role and company debuts with Atlanta Opera for Blondchen in Die Entführung aus dem Serail and at the Glimmerglass Festival as Atalanta in Xerxes. She also joined Arizona Opera as the First Wood Nymph in Rusalka, Clorinda in La cenerentola, and for its world premiere of Bohlmer's The Riders of the Purple Sage and Dallas Opera as Voice I in Cuomo's Arjuna's Dilemma, presented as the company hosted the annual Opera America conference.
The soprano recently is a former resident artist of Portland Opera, at which she sang a host of role debuts that include Adina in L'elisir d'amore, Johanna in Sweeney Todd, Elvira in L'italiana in Algeri, Papagena in Die Zauberflöte, Frasquita in Carmen, Adult Kim in Show Boat, and Ida in Die Fledermaus – while covering Adele. She sang prior performances of Papagena in Die Zauberflöte, Isabel – while also covering Mabel – in The Pirates of Penzance, and covered Soeur Constance in The Dialogues of the Carmelites with Opera Theatre of Saint Louis, at which she has been both a Festival Artist and a Gerdine Young Artist. She joined the CoOperative Program as Marie in La fille du régiment and sang the Cat in Schuller's The Fisherman and his Wife with Odyssey Opera and the Boston Modern Opera Project.
On the concert stage, she has joined the Rhode Island Civic Chorale for the Angel in Respighi's Laude to the Nativity and Handel's Messiah. She sang Elvira in excerpts of L'italiana in Algeri with the Oregon Symphony and Violetta in excerpts of La traviatawith the Metropolitan Youth Symphony. With various Dallas-based chamber ensembles and orchestras, she has sung Fauré's Requiem, Mozart's Exsultate Jubilate, and Bach's St. John Passion. In 2011, Katrina performed in the east coast premiere of Jake Heggie's Pieces of 9/11 as the Girl Soprano, with Mr. Heggie at the piano.
Ms. Galka is a three-time regional award winner in the Metropolitan Opera National Council Auditions. She is the first-place winner of the Mario Lanza Scholarship and has received further awards from the National Opera Association Vocal Competition, Marcello Giordani International Vocal Competition, and the Heida Hermanns International Vocal Competition.
She holds a Master of Music from Boston University, at which she sang Servilia in La clemenza di Tito, Carolina in Il matrimonio segreto, and Rosalba in Catan's Florencia en el Amazonas. She earned a Bachelor of Music from Southern Methodist University, from which she graduated summa cum laude.
Download Bio here
"Medea," "Zarathusa," "Chained Woman," & "Helena" in
Hercules vs Vampires
Arizona Opera
October 15, 21, & 22, 2017
"Shepherd Boy" in
Arizona Opera
November 11, 12, 17, 18, & 19, 2017
Soprano soloist in "A Baroque Holiday - Handel's Messiah"
Las Vegas Philharmonic
Handel's Messiah and Buxtehude's Das neugeborne Kindelein
December 2, 2017
"Cunegonde" in
Arizona Opera
January 27 & 28, 2018
February 2, 3, & 4, 2018
"Rosina" in
Il barbiere di Siviglia
Arizona Opera
March 4, & 10, 2018
"Woglinde" in
Das Rheingold
Arizona Opera
April 6, 7, 8, 14, & 15, 2018
"Gilda" in
Portland Opera
May 4, 6, 10, & 12, 2018


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SOURCE: Appian Corporation
February 17, 2015 09:01 ET
Financial Securities Provider Deploys Modern Application Platform Across Entire Line of Business
Financial Securities Provider Deploys Modern Application Platform Across Entire Line of Business
RESTON, VA--(Marketwired - Feb 17, 2015) - Appian, provider of the leading application platform for Business Process Management (BPM) and Case Management solutions, today announced that Leonteq Securities AG, technology and service partner for investment solutions, has deployed Appian process solutions to transform investment services across its entire organization. Appian's combination of process management, automation, and data management has enabled Leonteq to accelerate decision-making and intelligent business processes to provide the most accurate management of investment solutions and financial services for customers and partners. Leonteq has deployed the Appian BPM Suite across core business functions to innovate the management of core processes including structured product development and issuance on the market, product documentation, hedging and new investors on-boarding. Leonteq will present its business solutions success during an Application Platform track session at Appian World 2015, April 27-29 in Washington, DC.
Leonteq is headquartered in Zurich and has offices in Geneva, Monaco, Guernsey, Frankfurt, Paris, London, Singapore and Hong Kong. Leonteq's team of highly experienced specialists operates to maximize flexibility, innovation, transparency and service for investors and partners. Using Appian's process automation and collaboration features, thousands of Structured Product Primary Market Trade processes are launched per year, while reducing manual data tracking and collection by up to 70 percent. The platform solution is integrated within Leonteq's IT Landscape via web services.
Appian's process automation enables a faster time to market for new structured products and accelerated investors on-boarding while mitigating operational risks along the core value chain. Appian's reporting capabilities offer full audit trail and present a clear and concise way to view data in real-time, allowing Leonteq employees to have easy access to critical information and make faster business decisions. Appian BPM Platform scalability offers Leonteq the chance to promptly transform business challenges into automated and integrated workflows-based solutions.
"Leonteq's business model demonstrates the value financial service organizations place on having enterprise-wide data readily available in order to provide the best customer service possible," said Matt Calkins, President and CEO at Appian. "Using Appian, Leonteq is able to quickly access critical information across all lines of business using a single, easy to use platform."
About Appian
As the market leader in modern Business Process Management (BPM) software, Appian delivers an enterprise application platform that unites users with all their data, processes, and collaborations -- in one environment, on any mobile device, through a simple social interface. On-premise and in the cloud, Appian is the fastest way to deliver innovative business applications. For more information, visit www.appian.com.
Leonteq Group is a leading technology and service partner for investment solutions. The company is headquartered in Zurich and has offices in Geneva, Monaco, Guernsey, Frankfurt, Paris, London, Singapore and Hong Kong. Leonteq combines a modern and integrated structured investment service platform designed for flexibility, innovation, customer service and transparency with a highly experienced team of specialists.
For Information Contact:Mike Ingrisano
Media Relations Manager
+1 703.434.3356Email Contact
For Information Contact:Mike Ingrisano
Media Relations Manager
+1 703.434.3356Email Contact
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It's interesting. I've never really thought of myself as just "woman" or just "black." Long before I ever had a feminist or womanist thought, I knew myself to be both "woman" and "black," and a few other identities as well. It never occurred to me that I could parse out what it means to be a woman, from what it means to be a black woman. My lens has always had to hold both. Whatever racism I experienced, was gendered. Whatever form of sexism or patriarchy I experienced, was racialized. Racism and sexism have always worked in tandem to have an impact on my life. This is the age-old conversation that women of color have been having since Sojourner Truth first asked, "Ain't I a Woman?" as she addressed white abolitionists. Even back then, Sojourner was clear, as evidenced by her lived experiences, that patriarchy and race were inextricably tied. Her identity as a black woman working against both sexism and slavery, proved this to be so.
How is it then, that 163 years after Sojourner Truth's speech, we continue to have conversations about equity and inclusion that falsely hold these identities as separate? Is it really possible to work solely on issues of race or to work solely on issues of gender equity? What then do we do with those of us who hold both identities?
Identity politics may have served us well in the past, and might still be used strategically today, but our conversations must become as complex as the way in which we live our lives. I'd like to sit around a table that allows me to bring my whole self—my whole cisgendered-hetero-Afro-Caribbean (and the list goes on) self to the table. Let's not ask anyone to give up a part of themselves as we do the work of equity and justice in our artistic communities. Let's not continue to pose a false dichotomy: gender or racial equity. We need both and more.
Years ago while I was working with an interfaith community in Los Angeles, we decided to host a large community dialogue addressing racism. I got a call from a woman who was excited about the event but noted that because the event was being held in a church and the focus was on racism, she wasn't sure if she and her lesbian partner would be welcomed. "Will it be safe for us?" she wanted to know. My heart sank. This was all too familiar. Her experience had taught her that just because a group was willing to address racism, didn't mean that they would also be working for gay liberation. Furthermore, would a church space support her full identity?
I believe the days of segregated movements are gone. Today's generation, a generation of multi-identified, class-conscious, queer, people of color, expect more intersections, more interplay between issues of equity and justice. As young artists support community-building, they expect a more complicated analysis that explores the contradictions and intersections of their lives. They identify as queer feminists of color, or transgender immigrants living with HIV. They do not identify solely as gendered or raced individuals.
My community work has necessitated a very clear philosophy of intersectionality[1]: an approach that recognizes that systems of structural inequity are bound together, and as such, they must be dismantled together.
As an arts community, I believe there is power in taking an intersectional approach to discussing and addressing issues of equity and inclusion. There is power in acknowledging both the places where we have privilege and the places where we have been marginalized. Inequity relies on systems of exclusion. Racism is strengthened when sexism is allowed to flourish. Sexism thrives when heterosexism goes unchecked. Inequity relies on one group being pitted against the next. This has to be interrupted in our work and how we discuss and address issues of equity.
Someone once asked me, "Well how broad does my analysis need to be? Do I have to address racism and sexism and classism?" My response: "Yes, and ageism, heterosexism, religious bigotry, and ableism too! Your analysis needs to be as broad as it needs to be – broad to the tenth power. And then it needs to keep expanding."
Some of us may remember the poignant moment at the Diversity Forum held last December at the Pasadena Playhouse. After much discussion about inclusion in terms of race or gender, a question was asked from an audience member to a panelist. The panelist strained to see and hear where the question was coming from and finally asked, "Could you please stand up?" The audience member graciously replied from a wheelchair, "No I can not."
That moment remains so vivid for me in its illustration that it takes an ongoing awareness and growing inclusive approach to support access for everyone around the table, and it will look different for each of us. It will also require grace and patience from each of us.
It is clear that as we continue our work to address equity and inclusion in the arts, we will lose valuable ground if we do not frame issues of equity in the broadest sense. We will need artists who have the ability to take on an expanding and inclusive analysis if we hope not to repeat mistakes of our past.
The topic of intersectionality will be explored further during the 2014 TCG National Conference: Crossing Borders in San Diego at the session "REPRESENT: Measuring Change, Changing How We Measure." This session will provide an opportunity to move beyond exploring intersectionality as a theory, to a close examination of how it can be practically applied.
Resource note:
For more context and insight on the concept of intersectionality read "Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color" by Kimberle Crenshaw. It touches on a variety of issues and provides historical overview and context on the intersections of gender and race.
[1] From Wikipedia: The theory of intersectionality suggests that discrete forms and expressions of oppression actually shape, and are shaped by, one another. Thus, in order to fully understand the racialization of oppressed groups, one must investigate the ways in which racializing structures, social processes, and social representations are shaped by gender, class, sexuality, ability, and other identities.
Carmen Morgan is a national diversity consultant and has worked with the Oregon Shakespeare Festival (OSF) for the past six years on structural and organizational equity. In addition, she serves as a senior consultant for Theatre Communications Group's diversity and inclusion initiatives where she helped to launch their national Diversity and Inclusion Institute. She also provides customized resources and trainings to theaters nationwide. Carmen is also currently the Program Director of Leadership Development in Interethnic Relations (LDIR). Carmen co-wrote and edited ExpandingLDIRship: A Resource Promoting Positive Intergroup Relations in Communities Through Awareness, Skills and Actions, which remains the center piece of LDIR's community programming and training. Her leadership work in the arena of diversity and inclusion involves developing and directing program initiatives nationwide – programs that are proactive instead of reactive. She has presented at national conferences including the National Conference on Race and Ethnicity, National Association for Multicultural Education, Association of Performing Arts Service Organizations, Americans for the Arts, United States Institute for Theatre Technology, and the Robert Woods Johnson Foundation, to name a few. Carmen is a founding member of the California Chapter of the National Association for Multicultural Education (NAME), a former Human Services Commissioner for the City of Pasadena, and is currently on the fundraising committee for Black Women for Wellness, a community-based organization serving women in South Los Angeles. She remains a committed community activist who has worked within the nonprofit sector, specifically around social justice issues, for almost over 20 years.


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Phillip A. Sharp, a world leader of research in molecular biology and biochemistry and an institute professor at the Massachusetts Institute of Technology, has been named winner of the Herbert Tabor/Journal of Biological Chemistry Lectureship.
Much of Sharp's work has been conducted at MIT's Center for Cancer Research, which is now known as the Koch Institute and which he joined in 1974 and directed from 1985 to 1991. He subsequently led the department of biology from 1991 to 1999 before assuming the directorship of the McGovern Institute from 2000 to 2004. His research interests have centered on the molecular biology of gene expression relevant to cancer and the mechanisms of RNA splicing. His landmark achievement was the discovery of RNA splicing in 1977, for which he shared the 1993 Nobel Prize in Physiology or Medicine.
Sharp, who has authored more than 350 scientific papers, has received numerous awards and honorary degrees and has served on advisory boards for the government, academic institutions, scientific societies and companies. His other awards include the Gairdner Foundation International Award, the General Motors Research Foundation Alfred P. Sloan Jr. Prize for Cancer Research, the Albert Lasker Basic Medical Research Award, the National Medal of Science and the inaugural Double Helix Medal from CSHL.
Sharp co-founder of Biogen, which is now known as Biogen Idec, and Alnylam Pharmaceuticals, is a member of the National Academy of Sciences, the Institute of Medicine, the American Academy of Arts and Sciences and the American Philosophical Society.
The lectureship was established by ASBMB to recognize the many contributions of Dr. Herbert Tabor to the Journal of Biological Chemistry and the society.


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Mathieu – the narrator of this short novel – is a twelve-year-old child who has been left to live with his grandfather on his farm in Haute-Provence. He goes to a religious school several miles away, which he reaches on a bicycle.
The only person he positively relates to is his grandfather: on the farm he is preoccupied by hurting, even torturing, animals and insects, and at school he has no respect for the teachers and treats Parrot – a boy who is friendly towards him – with contempt.
Mathieu also sees his parents with contempt, and tells one of the priests that they are dead. They are dead to the boy, and there's a strong suggestion that his mother – whose letters he disposes of without opening – mortally stabbed his father.
Throughout the book Mathieu's narrative frequently interrupts itself with his memories of the fights between his parents, sometimes with his own voice trying to stop them, sometimes with his parents' remembered voices at the time of the violence. It is evident that serious damage has been inflicted on the child, although it is by no means clear how much – or how little – his taciturn grandfather knows of Mathieu's history.
And it's equally evident that Mathieu is releasing his frustration onto others – violence breeds violence and his attacks on animals are a release of the psychological damage caused by his parents, and this damage is mixed with his growing sexual frustrations which express themselves by Mathieu making friendship-starved Parrot an occasional sex slave.
There's a genuine love between Mathieu and his grandfather, but the natural death of Pépé leads to the boy setting fire to the farm and riding off with ideas of killing himself.
This is a deeply disturbing book, but also a very French one. The back cover, with its reference to the kind of interstitial literature where suffering is to be read between the lines, draws the readers' attention to Charles Juliet's L'Année de l'éveil. That's another to look into.


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2013 Spartans April Practice Schedule
Summary of April practice sessions:
Saturday and Sunday April 20 and 21 CAMP #1 FULL CORPS. Welcome Color Guard!!! Practices start at 9AM on Saturday and will end at 4PM on Sunday. All meals provided this weekend! Boys and Girls Club Nashua
Friday, Saturday and Sunday April 26, 27 and 28. FULL CORPS outdoor camp. Practice starts at 6PM Friday night and ends at 4PM Sunday. All meals provided. Mall practice location.
From April 20th until we get off the field at Lucas Oil Stadium in August, the full corps is at all events. Here we go Spartans!!!
Read the rest of the article here.
Posted by News Editor on Saturday, April 6th, 2013. Filed under Current News, DCI Open.


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In a countryside town bordering on a magical land, a young man makes a promise to his beloved that he'll retrieve a fallen star by venturing into the magical realm. His journey takes him into a world beyond his wildest dreams and reveals his true identity.
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Inner Views: Life Behind Bars (EP.1 Trizz) Hosted by: @CousinFeo | Shot by. @NewKingdomProds
EP.1 of our in-depth web series features Inland Empire artist Trizz as we sit down to discuss the values of being independent, his ties to Strange Music, relationship with musical mentor Brotha Lynch Hung & much more.
Hosted by: @CousinFeo
Shot/Edited by: Greg McKarus of @NewKingdomProds
Audio Engineer: Richard Loughman
(Visited 1 times, 1 visits today)


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17th August 2016
- Free new app offers discounts of up to 20%* for good drivers
- Gives young drivers the opportunity to save money.
Co-op Insurance is offering young drivers up to 20% off their insurance premium price in their first year if they can prove they drive well, using its 'Young Driver' app.
Since it launched in 2011, Co-op Insurance, which was the first major insurer to bring telematics to the mainstream market, has saved its Young Driver policyholders over £7.4m in their first year of driving**, an average of £120 each.
With the new app, young drivers can check that this type of policy is the right one for them, before committing to it.
Co-op's Young Driver Insurance works by rewarding policyholders for safe driving. It prices discounts*** based on:
- speed – keeping within limits
- acceleration and braking – not accelerating or braking suddenly
- cornering – driving in a controlled manner around corners
- time of driving – certain times of day can be riskier to drive at.
App users are asked to drive 200 miles over 10 journeys on separate days, which generates a personalised driving score.
Based on the driver's final overall score a personalised quote link is sent to them via email, or by clicking on the 'Get a Quote' button in the app. Any discount will be automatically applied to the quote, which could be up to 20% lower than if the Young Driver app hadn't been used. The drivers who display the safest driving will receive the discount.
However, if a young driver drives particularly badly, the Co-op could decide not to offer a discount.
Steve Kerrigan, head of telematics at the Co-op Insurance, said: "We recognise that insurance policies priced on 'how' somebody drives are not for everyone.
This is why we have developed this app, to not only give drivers the chance to try before they buy but for them to gain a unique insight into their driving style.
At the Co-op we are keen to help keep the roads safe and believe that telematics policies which honestly tell you how you are driving can play a role in this.
Young drivers who drive well using the app can expect a discount on their quote of up to 20%, which can be a significant price saving for them."
In addition the latest data from the Co-op Insurance has found that on average its Young Driver policyholders receive £120 back in their pockets in the first year of taking out their policy.
The app is available on Android via the Play Store and via the App Store for iPhones by searching 'Co-op Insurance Young Driver'.
Notes to editors – For media purposes only
*Save up to 20% if you drive well whilst using the 'Young Driver' App
**First year of holding a Young Driver policy with the Co-op Insurance
Average customer discount given in year one March 2011-January 2016. Level of discount is up to 22.5% off the premium and is dependent on a driver's driving score over the year.
£120 × number of policyholders since March 2011 – January 2016
*** Conversely, policyholders who drive badly may also see an increase in their premium policy price.
For more information contact:
Jenna Moss
Press & Media Relations Manager – Co-op
0161 767 4354/07770 441828


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Executive Development Programme - 6-12 November 11 (Chennai)
A life changing Executive Development Programme to achieve social change.
Pepal in collaboration with Professor Jamie Anderson, one of the world's foremost experts on strategy and innovation in developing markets, and Dalberg are continuing Pepal's successful Innovation in India series. This unique programme partners international executives with their Indian business partners and community/NGO leaders to develop new, sustainable and scalable business models at the Base of the Pyramid which improve the livelihoods of local communities.
The programme starts in Hyderabad at the Indian School of Business with a two-day executive training course delivered by Jamie Anderson. During this first training session, participants will learn how to apply traditional business school methodologies to develop a strategy as well as how to formulate and implement an effective base of the pyramid consultancy project. Participants will then spend two days visiting the community/NGO field sites further developing their project plans before returning to a location South of Chennai for a three-day interactive executive training session led by Dalberg, where teams will complete a draft business plan for their chosen initiative and develop an implementation plan for developing, refining and testing their business models.
Please contact me for more details:
Laura Nurse
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Independent living.Some adults with ASD are able to live entirely on their own. Others can live semi-independently in their own home or apartment if they have assistance with solving major problems, such as personal finances or dealing with the government agencies that provide services to persons with disabilities. This assistance can be provided by family, a professional agency, or another type of provider.
Living at home.Government funds are available for families that choose to have their adult child with ASD live at home. These programs include Supplemental Security Income (SSI), Social Security Disability Insurance (SSDI), Medicaid waivers, and others. Information about these programs is available from the Social Security Administration (SSA). An appointment with a local SSA office is a good first step to take in understanding the programs for which the young adult is eligible.
Foster homes and skill-development homes.Some families open their homes to provide long-term care to unrelated adults with disabilities. If the home teaches self-care and housekeeping skills and arranges leisure activities, it is called a "skill-development" home.
Supervised group living.Persons with disabilities frequently live in group homes or apartments staffed by professionals who help the individuals with basic needs. These often include meal preparation, housekeeping, and personal care needs. Higher functioning persons may be able to live in a home or apartment where staff only visit a few times a week. These persons generally prepare their own meals, go to work, and conduct other daily activities on their own.
Institutions.Although the trend in recent decades has been to avoid placing persons with disabilities into long-term-care institutions, this alternative is still available for persons with ASD who need intensive, constant supervision. Unlike many of the institutions years ago, today's facilities view residents as individuals with human needs and offer opportunities for recreation and simple but meaningful work.
Source: National Institutes of Mental Health
For more information on traditional certified residential placement options and alternative residential placement options click here.
Day Programs and Services


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Video nasty
Video nasty is a colloquial term in the United Kingdom to refer to a number of films distributed on video cassette that were criticised for their violent content by the press, social commentators and various religious organizations. The term was popularized by the National Viewers' and Listeners' Association (NVALA) in the early 1980s.[1]
These video releases were not brought before the British Board of Film Classification (BBFC), which could have censored or banned many of the films, due to a loophole in film classification laws. As a result, this produced a glut of potentially censorable video releases, which led to public debate concerning the availability of these films to children due to the unregulated nature of the market.[2]
Following a moral campaign led by Mary Whitehouse and the NVALA, local jurisdictions began to prosecute certain video releases for obscenity. To assist local authorities in identifying obscene films, the Director of Public Prosecutions released a list of 72 films the office believed to violate the Obscene Publications Act 1959. This list included films that had been acquitted of obscenity in certain jurisdictions or that had already obtained BBFC certification. The subsequent revisions to the list and confusion regarding what constituted obscene material led to Parliament passing the Video Recordings Act 1984, which forced all video releases to appear before the BBFC for certification.[1][2]
The implementation of the Video Recording Act imposed a stricter code of censorship on videos than was required for cinema release. Several major studio productions were banned on video, as they fell within the scope of legislation designed to control the distribution of video nasties. In recent years, the stricter requirements have been relaxed, as numerous films once considered video nasties have obtained certification uncut or with minimal edits. Due to a legislative mistake discovered in August 2009, the Video Recordings Act 1984 was repealed and re-enacted without change by the Video Recordings Act 2010.
- 1 Obscenity and video
- 2 Public concern
- 3 Effects of the Video Recordings Act 1984
- 4 Relaxation of censorship
- 5 DPP list
- 6 Republic of Ireland
- 7 Sources
- 8 References
- 9 Further reading
- 10 External links
Obscenity and video
|This section does not cite any sources. (July 2011)
At the time of the introduction of domestic video recorders in the United Kingdom during the 1970s, there was no legislation specifically designed to regulate video content, apart from the Obscene Publications Act 1959 which had been amended in 1977 to cover erotic films. Major film distributors were initially reluctant to embrace the new medium of video for fear of piracy and the video market became flooded with low-budget horror films. Whilst some of these films had been passed by the British Board of Film Censors (BBFC) for cinema release, others had been refused certification. The Obscene Publications Act defined obscenity as that which may "tend to deprave and corrupt persons who are likely, having regard to all relevant circumstances, to read, see or hear the matter contained or embodied in it". This definition is of course open to wide interpretation.
If the Director of Public Prosecutions (DPP) felt that a certain video might be in breach of the Act, then a prosecution could be brought against the film's producers, distributors and retailers. Prosecutions had to be fought on a case-by-case basis and a backlog of prosecutions built up. However, under the terms of the Act the police were empowered to seize videos from retailers if they were of the opinion that the material was in breach of the Act. In the early 1980s, in certain police constabularies, notably Greater Manchester Police which was at that time run by devout Christian Chief Constable James Anderton, police raids on video hire shops increased. However the choice of titles seized appeared to be completely arbitrary, one raid famously netting a copy of the Dolly Parton musical The Best Little Whorehouse in Texas (1982) under the mistaken belief it was pornographic.
The Video Retailers Association were alarmed by the apparently random seizures and asked the DPP to provide a guideline for the industry so that stockists could be made aware of the titles which were liable to be confiscated. The DPP recognized that the current system, where the interpretation of obscenity was down to individual Chief Constables, was inconsistent and decided to publish a list that contained names of films that had already resulted in a successful prosecutions or where the DPP had already filed charges against the video's distributors. This list became known as the DPP list of "video nasties".
The lack of regulation of the domestic video market was in sharp contrast to the regulation of material intended for public screenings. The BBFC had been established in 1912, essentially as an unintended consequence of the Cinematograph Act 1909, and it was their responsibility to pass films intended for the cinema for certification within the United Kingdom (though local councils were the final arbiters). As part of this process the board could recommend, or demand in the more extreme cases, that certain cuts be made to the film in order for it to gain a particular certification. Such permission was not always granted, and in the case of the release of The Exorcist in 1973, a number of enterprising managers of cinemas where permission had been granted set about providing buses to transport cinema-goers from other localities where the film could not be seen.
Public concern
|This section does not cite any sources. (July 2011)
Public awareness of the availability of these videos began in early 1982, when Vipco (Video Instant Picture Company), the UK distributors of The Driller Killer, a 1979 splatter film, took out full-page advertisements in a number of specialist video magazines, depicting the video's explicit cover; an action which resulted in a large number of complaints to the Advertising Standards Agency. A few months later Go Video, the distributors of the already-controversial 1980 Italian film Cannibal Holocaust, in an effort to boost publicity and generate sales that ultimately backfired, wrote anonymously to Mary Whitehouse of the National Viewers' and Listeners' Association complaining about their own film. Whitehouse sparked off a public campaign and coined the term 'video nasty'. Amid the growing concern, The Sunday Times brought the issue to a wider audience in May 1982 with an article entitled "How high street horror is invading the home". Soon the Daily Mail began their own campaign against the distribution of these films. The exposure of 'nasties' to children began to be blamed for the increase in violent crime amongst youths. The growing media frenzy only served to increase the demand for such material among adolescents. At the suggestion of the National Viewers' and Listeners' Association, the Conservative MP Graham Bright introduced a Private Member's Bill to the House of Commons in 1983. This was passed as the Video Recordings Act 1984 which came into effect on 1 September 1985.
Effects of the Video Recordings Act 1984
|This section does not cite any sources. (July 2011)
Under the 1984 Act, the British Board of Film Censors was renamed the British Board of Film Classification and became responsible for the certification of both cinema and video releases. All video releases after 1 September 1985 had to comply with the Act and be submitted for classification by the BBFC. Films released on video before that date had to be re-submitted for classification within the following three years. The increased possibility of videos falling into the hands of children required that film classification for video be a separate process from cinema classification. Films that had passed uncut for cinema release were often cut for video. The supply of unclassified videos became a criminal offence, as did supplying 15 and 18 certificate videos to under-aged people. As well as the low-budget horror films the Act was originally intended to curb, a number of high-profile films which had passed cinema certification fell foul of the Act. In particular, The Exorcist, which was made available by Warner Home Video in December 1981, was not submitted for video certification by the BBFC and was withdrawn from shelves in 1986. Similarly Straw Dogs was denied video certification and removed from video stores. Popular culture backlash against the Video Recordings Act included the May 1984 release of "Nasty" by the punk-goth outfit The Damned, who celebrated the condemned genre with the lyrics "I fell in love with a video nasty".
The TV show The Young Ones included an entire episode entitled "Nasty", in which the characters rent a video recorder specifically to watch a "video nasty" (with the fictitious name Sex with the Headless Corpse of the Virgin Astronaut), and which featured a lip synched performance of "Nasty" by The Damned. In another episode, "Bambi", the eponymous character had apparently done a "Disney nasty" entitled Bambi Goes Crazy-Ape Bonkers with His Drill and Sex.
The television programme Spitting Image parodied the video nasties with their sketch of a sickeningly nice, low-budget film entitled a video "nicie".
Neil Innes' song "My New School" (1984) contains a video nasty reference "It's got all the charm of a video nasty/I've never been anywhere so ghastly, my new school".
Relaxation of censorship
With the passing of the Video Recordings Act, the films on the list could be prosecuted for both obscenity and not being classified. As well as not passing any film liable to be found obscene, the BBFC imposed additional bans and cuts on films such as The Texas Chain Saw Massacre. Claims, since proven at best to be speculative, at worse outright media fabrication,[3] relating to the Hungerford massacre and the murder of James Bulger (where the 1991 film Child's Play 3 was erroneously held up as influencing the perpetrators, possibly prompting the 1992 film Mikey to be prohibited in the UK ), provided an additional impetus to restrict films and as late as December 1997, the Board claimed it "has never relaxed its guidelines on video violence, which remain the strictest in the world".[citation needed] However, the board did loosen its standards, especially at the 18 level, in response to public consultation in 2000. The departure of James Ferman from the BBFC may also have allowed some long-proscribed films to be re-appraised around this time. The Exorcist was granted an uncut 18 video certificate on 25 February 1999, followed by The Texas Chain Saw Massacre in August, and several official 'nasties' were passed in the early 2000s either uncut or with cuts restricted to sexual violence or actual animals being harmed. A list of these is given below. Among modern films, many such as the Hostel and Saw series, contain brutal, graphic violence but have passed through uncut.
In 2008, there was another brief media frenzy over such films that had years earlier been approved for release by the BBFC, in particular SS Experiment Camp.[4](subscription required)[5] This coincided with an attempt by MPs Julian Brazier and Keith Vaz to pass a law allowing MPs greater powers to tighten BBFC guidelines or force an appeal of a release.[6][7](subscription required) The bill failed to pass.[8]
However, the UK Government passed a law criminalising possession of "extreme pornography". Whilst BBFC-rated films are exempt from the legislation, somewhat illogically screenshots from these same BBFC-rated movies are not,[9] and would also apply to unrated films. Hostel: Part II was cited in the House of Commons as an example of a film where screenshots could become illegal to possess.[10]
DPP list
The DPP list of 'video nasties' was first made public in June 1983. The list was modified monthly as prosecutions failed or were dropped. In total, 72 separate films appeared on the list at one time or another. 39 films were successfully prosecuted under the Obscene Publications Act but some of these films have been subsequently cut and then approved for release by the BBFC. The remaining 33 were either not prosecuted or had unsuccessful prosecutions. 10 films remain banned in the UK because they have not yet been resubmitted for classification by any distributors or have been rejected for classification. A number of films spent a short time on this list because their prosecutions failed shortly after publication or because it was decided that prosecution was not worth pursuing. Ultimately, the list became obsolete when the Video Recordings Act came into force, and since 2001, several of the films have been released uncut. In the majority of cases below where cuts were made, they were scenes of real-life animal cruelty and/or excessive violence to women, both of which are still regarded with some degree of severity by the BBFC. A large number of these movies caused additional controversy with the cover art of the original big box releases seen in the video shops of the early 1980s. Unless noted otherwise, all films that have been released have been rated 18.
Prosecuted films
- Absurd (original title: Rosso Sangue, also known as Monster Hunter, Anthropophagus 2, and Horrible) - Originally passed with cuts for cinema. No UK re-release.
- Anthropophagous: The Beast (original title: Antropophagus, also known as Anthropophagous, Antropofago, The Grim Reaper, Man Beast, Man-Eater, and The Savage Island) – Released with approximately 8 minutes of pre-edits as The Grim Reaper in 2002. Complete version passed uncut in June 2015.
- Axe (also known as Lisa, Lisa and California Axe Massacre) – Originally passed with cuts for cinema. Released with 19 seconds cut in 1999. Released uncut in 2005.
- A Bay of Blood (original title: Reazione a Catena, also known as Twitch of the Death Nerve, Blood Bath and simply Bay of Blood) – Originally refused a cinema certificate in 1972. Released with 43 seconds cut in 1994. Re-released uncut in 2010.
- The Beast in Heat (original title: La Bestia in Calore, also known as SS Hell Camp) – No UK re-release.
- Blood Feast – Released with 23 seconds cut in 2001. Re-released uncut in 2005.
- Blood Rites (also known as The Ghastly Ones) – No UK re-release.
- Bloody Moon (original title: Die Säge des Todes) – Originally passed with cuts for cinema. Released with 1 minute 20 seconds cut in 1993. Released uncut November 2008.
- The Burning – Originally passed with cuts for cinema. Released with 19 seconds cut in 1992. Re-released uncut in 2001.
- Cannibal Apocalypse (original title: Apocalypse Domani, also known as Invasion of the Flesh Hunters) – Released with 2 seconds cut to animal cruelty in 2005.
- Cannibal Ferox (also known as Make Them Die Slowly) – Released with approximately 6 minutes of pre-cuts plus an additional 6 sec cut to a scene of animal cruelty in 2000.
- Cannibal Holocaust – Released in 2001 with 5 minutes 44 seconds cut to remove most animal cruelty and rape scenes. Re-released with 15 seconds cut to one animal cruelty scene in 2011.[11]
- The Cannibal Man (original title: La Semana del Asesino) – Released with 3 seconds cut in 1993.
- Devil Hunter (original title: El Canibal) – Released uncut in November 2008.
- Don't Go in the Woods – Released uncut in 2007 with a 15 rating.
- The Driller Killer – Released with 54 seconds of pre-cuts in 1999. Re-released uncut in 2002. Now considered to be in public domain.[12][13]
- Evilspeak – Released with 3 minutes 34 seconds cut in 1987. Re-released uncut in 2004.
- Exposé (also known as House on Straw Hill) – Originally passed with cuts for cinema. Released with 51 seconds cut in 1997.
- Faces of Death – Released with 2 minutes 19 seconds cut to animal cruelty in 2003.
- Fight for Your Life – Originally refused a cinema certificate in 1981. No UK re-release.
- Flesh for Frankenstein (also known as Andy Warhol's Frankenstein) – Originally passed with cuts for cinema. Released with 56 seconds cut in 1996. Released uncut in 2006.
- Forest of Fear (also known as Toxic Zombies and Bloodeaters) – No UK re-release.
- Gestapo's Last Orgy (original title: L'ultima orgia del III Reich, also known as Last Orgy of the Third Reich and Caligula Reincarnated As Hitler) – No UK re-release.
- The House by the Cemetery (original title: Quella villa accanto al cimitero) – Originally passed with cuts for cinema. Released with over 4 minutes cut in 1988. Re-released with 33 seconds cut in 2001. Released uncut in 2009.
- The House on the Edge of the Park (original title: La casa sperduta nel parco) – Originally refused a cinema certificate in 1981. Released with 11 minutes 43 seconds cut in 2002. Re-released with 42 seconds cut in 2011.
- I Spit on Your Grave (also known as Day of the Woman) – Released with 7 minutes 2 seconds cut in 2001. Re-released in a longer re-edited format in 2003 which reframed the rape scenes but was cut by 43 seconds to the second rape scene by the BBFC. The original print was released again with 3 minutes cut in 2010.
- Island of Death (original title: Ta Pedhia tou dhiavolou, also known as Devils in Mykonos and A Craving For Lust) – Originally passed with cuts for cinema. Refused a video certificate in 1987 under the title Psychic Killer II. Re-released with 4 minutes 9 seconds cut in 2002. Released uncut September 2010.
- The Last House on the Left – Originally refused a cinema certificate in 1974 and again in 2000. Also refused a video certificate in 2001. Passed with 31 seconds cut in 2002. Released uncut on 17 March 2008.
- Love Camp 7 – Refused a video certificate in 2002.
- Madhouse (also known as There Was a Little Girl) – Released uncut in 2004.
- Mardi Gras Massacre – No UK re-release.
- Nightmares in a Damaged Brain (also known as Nightmare) – Originally passed with cuts for cinema. Released with approximately 3 minutes of pre-edits in 2005. Re-released uncut in November 2015.
- Night of the Bloody Apes (original title: La Horripilante bestia humana) – Originally passed with cuts for cinema. Released with approximately 3 minutes of pre-cuts in 1999. Re-released uncut in 2002.
- Night of the Demon – Released with 1 minute 41 seconds cut in 1994.
- Snuff – Passed uncut in 2003 but no UK release to date.
- SS Experiment Camp (original title: Lager SSadis Kastrat Kommandantur, also known as SS Experiment Love Camp) – Released uncut in 2005.
- Tenebrae (original title: Tenebre, also known as Unsane) – Originally passed with cuts for cinema. Released with 5 seconds cut in 1999. Re-released uncut in 2003.
- The Werewolf and the Yeti (original title: La Maldicion de la Bestia, also known as Night of the Howling Beast) – No UK re-release.
- Zombie Flesh Eaters (also known as Zombie and Zombi 2) – Originally passed with cuts for cinema. Released with 1 minute 46 seconds cut in 1992. Re-released with 23 seconds cut in 1999. Released uncut in 2005.
Non-prosecuted films
- The Beyond (original title: E Tu Vivrai Nel Terrore ‒ L'Aldilà, also known as Seven Doors of Death) — Originally passed with cuts for cinema. Released with approximately 2 minutes cut in 1987. Re-released uncut in 2001.
- The Bogey Man (also known as The Boogeyman) — Originally passed uncut for cinema. Released with 44 seconds cut in 1992. Re-released uncut in 2000.
- Cannibal Terror (original title: Terror Caníbal) — Released uncut in 2003.
- Contamination — Released uncut in 2004 with a 15 rating.
- Dead & Buried — Originally passed uncut for cinema. Released with 30 seconds cut in 1990. Re-released uncut in 1999.
- Death Trap (also known as Eaten Alive and Starlight Slaughter) — Originally passed with cuts for cinema. Released with 25 seconds cut in 1992. Re-released uncut in 2000.
- Deep River Savages (original title: Il paese del sesso selvaggio, also known as Man From Deep River) — Originally refused a cinema certificate in 1975. Released with 3 minutes 45 seconds of animal cruelty cuts in 2003.
- Delirium (also known as Psycho Puppet) — Released with 16 seconds cut in 1987.
- Don't Go in the House — Originally passed with cuts for cinema. Released with 3 minutes 7 seconds cut in 1987. Re-released uncut in December 2011.
- Don't Go Near the Park — Released uncut in 2006.
- Don't Look in the Basement (also known as The Forgotten) — Originally passed with cuts for cinema. Released uncut in 2005 with a 15 rating.
- The Evil Dead — Originally passed with cuts for cinema. Released with approximately 2 minutes cut in 1990. Re-released uncut in 2001.
- Frozen Scream — No UK re-release.
- The Funhouse — Originally passed uncut for cinema. Released uncut in 1987. Re-classified 15 in 2007.
- Human Experiments — Originally passed uncut for cinema. No UK re-release.
- I Miss You, Hugs and Kisses (also known as Drop Dead Dearest) — Released with 1 minute 6 seconds cut in 1986.
- Inferno — Originally passed with cuts for cinema. Released with 20 seconds cut in 1993. Re-released uncut in September 2010.
- Killer Nun (original title: Suor Omicidi) — Released with 13 seconds cut in 1993. Re-released uncut in 2006.
- Late Night Trains (original title: L'ultimo treno della notte, also known as Night Train Murders) — Originally refused a cinema certificate in 1976. Released uncut in 2008.
- The Living Dead at Manchester Morgue (original title: Non si deve profanare il sonno dei morti, also known as Let Sleeping Corpses Lie and Don't Open the Window) — Originally passed with cuts for cinema. Released with 1 minute 53 seconds cut in 1985. Re-released uncut in 2002.
- Nightmare Maker (also known as Night Warning and Butcher, Baker, Nightmare Maker) — Refused a video certificate in 1987 under the title The Evil Protege. No UK re-release.
- Possession — Originally passed uncut for cinema. Released uncut in 1999.
- Pranks (also known as The Dorm That Dripped Blood and Death Dorm) — Released with 10 seconds cut in 1992.
- Prisoner of the Cannibal God (original title: La montagna del dio cannibale, also known as Mountain of the Cannibal God and Slave of the Cannibal God) — Originally passed with cuts for cinema. Released with 2 minutes 6 seconds of animal cruelty cuts in 2001.
- Revenge of the Bogey Man (original title: Boogeyman II) — Released in re-edited form with additional footage in 2003.
- The Slayer — Released with 14 seconds cut in 1992. Re-released uncut in 2001.
- Terror Eyes (also known as Night School) — Originally passed with cuts for cinema. Released with 1 minute 16 seconds cut in 1987.[14]
- The Toolbox Murders — Originally passed with cuts for cinema. Released with 1 minute 46 seconds cut in 2000.
- Unhinged — Originally passed uncut for cinema. Released uncut in 2004.
- Visiting Hours — Originally passed with cuts for cinema. Released with approximately 1 minute cut in 1986.
- The Witch Who Came From the Sea — Released uncut in 2006.
- Women Behind Bars (original title: Des diamants pour l'enfer) — No UK re-release.
- Zombie Creeping Flesh (also known as Hell of the Living Dead and Virus) — Originally passed uncut for cinema in an edited version. Full version released uncut in 2002.
Films banned by the BBFC but not classed as video nasties
- Maniac — Banned for cinema in 1981 and again for video in 1998. Released with 58 seconds of cuts in 2002.
- Mother's Day — Banned for cinema in 1980. Released uncut on Blu-ray in 2015.
- The New York Ripper — Banned for cinema in 1982. Released with 29 seconds of cuts in 2002.
- Straw Dogs — Originally passed uncut for cinema. Withdrawn around the video nasty period but not actually included on the list. It was given an uncut theatrical re-release in 1995 but two subsequent attempts to pass the film for video in 1999 resulted in BBFC rejections. It was finally released uncut in 2002.
- The Texas Chain Saw Massacre — Banned for cinema in 1975. Released uncut with an 18 certificate in 1999.
Films seized by the police but not classed as video nasties
Other films grouped with video nasties
- A Clockwork Orange — Often believed to have been banned by the BBFC, it was actually Stanley Kubrick himself who withdrew the film from exhibition in the UK in 1973 on police advice after receiving death threats toward himself and his family, as well as disliking reports found in the British Press that the film was responsible for copycat violence. Quoting Kubrick: "To try and fasten any responsibility on art as the cause of life seems to me to put the case the wrong way around. Art consists of reshaping life but it does not create life, nor cause life. Furthermore, to attribute powerful suggestive qualities to a film is at odds with the scientifically accepted view that, even after deep hypnosis, in a posthypnotic state, people cannot be made to do things which are at odds with their natures."[15] The film was eventually re-released uncut at cinemas in the UK - and thereafter on both VHS and DVD in the UK - in 2000.
- The Exorcist — Although never cut or banned in the UK, several attempts to release the film on video were thwarted by BBFC censor James Ferman, who cited both the age of the possessed girl (as she was under 12, the film might have had significant appeal to underaged viewers) and reports of incidents of hysteria involving young women (leading to concerns that the film might cause severe emotional problems for those who believed in demonic possession) as obstacles to a home release. Following a successful theatrical re-release in 1998 and Ferman's retirement as censor in January 1999, the film was submitted for home video release for the first time in February 1999, and was finally released uncut with an '18' certificate.
- Scum — features the tagline "The film they tried to ban".[16] The original TV film was made by the BBC, but they later decided not to broadcast it owing to the violence and suicides in the film. It was quickly remade by most of the original production team and released in cinemas, and was released on VHS at the height of the Video Nasties controversy, quickly becoming associated with them in the media.
- Urotsukidōji: Legend of the Overfiend - described by some anime critics as a video nasty, this anime which contained scenes of graphic violence and tentacle rape was attacked by the British press and politicians, who feared that such animation could be used to corrupt children and that it should be banned. No ban was issued and the resulting publicity led to increased sales.[17] Later releases of the anime were heavily censored, sometimes leading to the plot being confusing.[18]
- Mikey -The film was withdrawn from release in the United Kingdom following the James Bulger murder in Liverpool in 1993. The decision was made by the BBFC which refused to issue it with a UK release certificate in 1996. Unlike other banned films that have since been reclassified and released, Mikey remains prohibited in the UK.[2]
Republic of Ireland
The moral concern extended to the Republic of Ireland.[19] In 1986, the Dáil Select Committee on Criminal Lawlessness and Vandalism issued a report "Controls on video nasties" recommending that the powers of the film censor's office be extended to videos.[19] This was implemented by the Video Recordings Act, 1989.[20][21]
- Martin, John. Seduction of the Gullible: The Truth Behind the Video Nasty Scandal.
- Kerekes, David; later, David. See No Evil.
- Morris, Marc; Fenton, Harvey; Brewster, Francis. Shock! Horror! Astounding Artwork from the Video Nasty Era.
- Morris, Marc; Wingrove, Nigel. The Art of the Nasty.
- Ban the Sadist Videos Pt 1 (documentary)
- Ban the Sadist Videos Pt 2 (documentary)
- Video Nasties: Moral Panic, Censorship & Videotape (documentary)
- Video Nasties: Draconian Days (documentary)
- ↑ 1.0 1.1 "Video Nasties". BBFC. 5 October 2011. Retrieved 9 December 2014.
- ↑ 2.0 2.1 "Cannibal Holocaust". BBFC. 5 October 2011. Retrieved 9 December 2014.
- ↑ Kerekes, David; Slater, David (2000). See No Evil: Banned Films and Video Controversy. Manchester: Critical Vision. ISBN 978-1-900486-10-1.
- ↑ Stop this debasing film -Times Online (subscription required)
- ↑ Murray, James (27 January 2008). "Outrage at Sick Nazi DVDs for Sale | UK | News | Daily Express". Express. Retrieved 9 December 2014.
- ↑ Siegert, Paul (22 February 2008). "BBC News | Programmes | Politics Show | Dismember of Parliament". BBC News. Retrieved 9 December 2014.
- ↑ MPs press for ban on SS camp 'video nasty'(subscription required)
- ↑ "MP's Film Censorship Bid Defeated : ePolitix.com". PoliticsHome. 29 February 2008. Retrieved 9 December 2014.
- ↑ Fisher, Frank (6 July 2007). "Get Your Tanks Off Our Porn! | Comment Is Free | The Guardian". The Guardian. Retrieved 9 December 2014.
- ↑ "Criminal Justice and Immigration Bill: 8 Oct 2007: House of Commons Debates – TheyWorkForYou". TheyWorkForYou.com. Retrieved 9 December 2014.
- ↑ "Cannibal Holocaust". bbfc.co.uk. Retrieved 29 June 2012.
- ↑ "Driller Killer-Uncut (1979)". Internet Archive. Retrieved 29 June 2012.
- ↑ "Drive In Classics". desertislandfilms.com. Retrieved 29 June 2012.
- ↑ "Alternate versions". Internet Movie Database. Retrieved 29 June 2012.
- ↑ Paul Duncan, Stanley Kubrick: The Complete Films, page 136 (Taschen GmbH, 2003) ISBN 3-8228-1592-6
- ↑ http://www.imdb.com/title/tt0079871/taglines
- ↑ Clements, Jonathan (2009). Schoolgirl Milk Crisis: Adventures in the Anime and Manga Trade. London: Titan Books. p. 73. ISBN 9781848560833.
- ↑ Clements, p. 274
- ↑ 19.0 19.1 Dáil Select Committee on Criminal Lawlessness and Vandalism (1986). "Report No. 10 - Controls on video nasties". Oireachtas. Retrieved 11 December 2011.
- ↑ "Video Recordings Act, 1989". Irish Statute Book. Attorney General. 1989. Retrieved 11 December 2011.
- ↑ Collins, Gerry (10 November 1988). "Video Recordings Bill, 1987 [Seanad]: Second Stage (Resumed).". Dáil debates. Oireachtas. pp. Vol.384 No.1 p.19 c.202. Retrieved 11 December 2011.
The tenth report of that committee, dealing with controls on video nasties, provided some very important information, comment and proposals.
Further reading
- Egan, Kate (2007). "The Celebration of a 'Proper Product': Exploring the Residual Collectible through the 'Video Nasty'". In Arcland, R. Residual Media. University of Minnesota Press. pp. 200–222. ISBN 978-0-8166-4471-1.
- "Something Nasty This Way Comes...". The Dark Side. Stray Cat Publishing Ltd (20): 13–32. May 1992.
- Martin, John (July 1996). "The Official 'Video Nasties' and How They Got That Way...". The Dark Side. Stray Cat Publishing Ltd (58): 48–62.


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My boyfriend was invited to a wedding and there was no plus-one on the invitation. I think he should refuse if I can't go.
What do you think?
First, why do you feel this way? Is this about the principle of the matter, or do you feel left out? We all come into relationships with different expectations about the roles other people play in our lives. How important is this person in your boyfriend's life? You should see a difference among an inviation from a distant cousin, a best friend or an ex-girlfriend. Before issuing an ultimatum, assess your own feelings and then have a conversation.
Second, wedding invitation lists depend on so many different factors: the budget, the size of the church and reception location, the so-called "closest" friends, and let's not forget the "must-be-invited" relatives that parents insist upon.
Finally, an invitation is just that: a request, not a command. Recipients are free to decide whether they can attend or not.
So talk to each other – and also listen carefully – so each of you understands the other.
Thoughtfully consider all the alternatives, and then be at peace with the decision you make together.
Pray 2 Corinthians 13:11: "Be made complete, be comforted, be like-minded, live in peace; and the God of love and peace will be with you."