text:
Mongrel

A mongrel, mutt, or mixed-breed dog is a dog that does not belong to one officially recognized breed, including those that result from intentional breeding. Although the term mixed-breed dog is sometimes preferred, many mongrels have no known purebred ancestors.

Crossbreed dogs, and "designer dogs", while also a mix of breeds, differ from mongrels in being intentionally bred. At other times, the word mongrel has been applied to informally purpose-bred dogs such as curs, which were created at least in part from mongrels, especially if the breed is not officially recognized.

Although mongrels are viewed as of less commercial value than intentionally bred dogs, they are thought to be less susceptible to genetic health problems associated with inbreeding (based on the theory of heterosis), and have enthusiasts and defenders who prefer them to intentionally bred dogs.

Estimates place the prevalence of mongrels at 150 million animals worldwide.

Crossbreed vs. mongrel
In the United States, the term mixed-breed is a favored synonym over mongrel among individuals who wish to avoid negative connotations associated with the latter term. The implication that such dogs must be a mix of defined breeds may stem from an inverted understanding of the origins of dog breeds. Purebred dogs have been, for the most part, artificially created from random-bred populations by human selective breeding with the purpose of enhancing desired physical, behavioral, or temperamental characteristics. Dogs that are not purebred are not necessarily a mix of such defined breeds. Therefore, among some experts and fans of such dogs, mongrel is still the preferred term.

Dog crossbreeds, sometimes called designer dogs, also are not members of a single recognized breed. Unlike mixed-breeds, crossbreed dogs are often the product of artificial selection – intentionally created by humans, whereas the term mongrel specifically refers to dogs that develop by natural selection, without the planned intervention of humans.

Regional and slang terms
The words cur, tyke, mutt, and mongrel are used, sometimes in a derogatory manner. There are also regional terms for mixed-breed dogs. In the United Kingdom, mongrel is the unique technical word for a mixed-breed dog. North Americans generally prefer the term mix or mixed-breed. Mutt is also commonly used (in the United States and Canada). Some American registries and dog clubs that accept mixed-breed dogs use the breed description All American.

There are also names for mixed-breeds based on geography, behavior, or food. In Hawaii, mixes are referred to as poi dogs, although they are not related to the extinct Hawaiian Poi Dog. In the Bahamas and the Turks and Caicos Islands, the common term is potcake dogs (referring to the table scraps they are fed). In South Africa, the tongue-in-cheek expression pavement special is sometimes used as a description for a mixed-breed dog. In Trinidad and Tobago, these mixed dogs are referred to as pot hounds (pothong). In Serbia, a similar expression is prekoplotski avlijaner (over-the-fence yard-dweller). In Russia, a colloquial term дворняга (yard-dweller) is used most commonly. In the Philippines, mixed-breed street dogs are often called askal, a Tagalog-derived contraction of asong kalye (”street dog"). In Puerto Rico, they are known as satos; in Venezuela they are called yusos or cacris, the latter being a contraction of the words callejero criollo (literally, street creole, as street dogs are usually mongrels); and in Chile and Bolivia, they are called quiltros. In Costa Rica, it is common to hear the word zaguate, a term originating from a Nahuatl term, zahuatl, that refers to the disease called scabies. In the rural southern United States, a small hunting dog is known as a feist.

Slang terms are also common. Heinz 57, Heinz, or Heinz Hound is often used for dogs of uncertain ancestry, in a playful reference to the "57 Varieties" slogan of the H. J. Heinz Company. In some countries, such as Australia, bitsa (or bitzer) is sometimes used, meaning "bits o' this, bits o' that". In Brazil and the Dominican Republic, the name for mixed-breed dogs is vira-lata (trash-can tipper) because of homeless dogs who knock over trash cans to reach discarded food. In Newfoundland, a smaller mixed-breed dog is known as a cracky, hence the colloquial expression "saucy as a cracky" for someone with a sharp tongue.

Determining ancestry
Guessing a mixed-breed's ancestry can be difficult even for knowledgeable dog observers, because mixed-breeds have much more genetic variation than purebreds. For example, two black mixed-breed dogs might each have recessive genes that produce a blond coat and, therefore, produce offspring looking unlike their parents.

Starting in 2007, genetic analysis has become available to the public. The companies claim their DNA-based diagnostic test can genetically determine the breed composition of mixed-breed dogs. These tests are still limited in scope because only a small number of the hundreds of dog breeds have been validated against the tests, and because the same breed in different geographical areas may have different genetic profiles. The tests do not test for breed purity, but for genetic sequences that are common to certain breeds. With a mixed-breed dog, the test is not proof of purebred ancestry, but rather an indication that those dogs share common ancestry with certain purebreds. The American Kennel Club does not recognize the use of DNA tests to determine breed.

Many newer dog breeds can be traced back to a common foundational breed, making them difficult to separate genetically. For example, Labrador Retrievers, Flat-coated Retrievers, Chesapeake Bay Retrievers, and Newfoundland dogs share a common ancestry with the St. John's water dog – a now-extinct naturally occurring dog landrace from the island of Newfoundland.

Health
The theory of hybrid vigor suggests that as a group, dogs of varied ancestry will be generally healthier than their purebred counterparts. In purebred dogs, intentionally breeding dogs of very similar appearance over several generations produces animals that carry many of the same alleles, some of which are detrimental. If the founding population for the breed was small, then the genetic diversity of that particular breed may be small for quite some time.

When humans select certain dogs for new breeds, they artificially isolate that group of genes and cause more copies of that gene to be made than might have otherwise occurred in nature. The population is initially more fragile because of the lack of genetic diversity. If the dog breed is popular, and the line continues, over hundreds of years diversity increases due to mutations and occasional out-breeding. This is why some of the very old breeds are more stable. One issue is when certain traits found in the breed standard are associated with genetic disorders. The artificial selective force favors the duplication of the genetic disorder because it comes with a desired physical trait. The genetic health of hybrids tends to be higher. Healthy traits have been lost in many purebred dog lines because many breeders of showdogs are more interested in conformation – the physical attributes of the dogs in relation to the breed standard – than in the health and working temperament for which the dog was originally bred.

Populations are vulnerable when the dogs bred are closely related. Inbreeding among purebreds has exposed various genetic health problems not always readily apparent in less uniform populations. Mixed-breed dogs are more genetically diverse due to the more haphazard nature of their parents' mating. The offspring of such matings might be less likely to express certain genetic disorders because there might be a decreased chance that both parents carry the same detrimental recessive alleles, but some deleterious recessives occur across many seemingly unrelated breeds, and therefore merely mixing breeds is no guarantee of genetic health. When two poor specimens are bred, the offspring could inherit the worst traits of both parents. This is commonly seen in dogs that came from puppy mills.

Several studies have shown that mixed-breed dogs have a health advantage over purebred dogs. A German study finds that "mongrels require less veterinary treatment". Studies in Sweden have found that "Mongrel dogs are less prone to many diseases than the average purebred dog" and, when referring to death rates, that "mongrels were consistently in the low risk category". Data from Denmark also suggest that mixed breeds have greater longevity on average compared to purebreds. A British study showed similar results, but a few breeds (notably Jack Russell Terriers, Miniature Poodles and Whippets) lived longer than mixed breeds.

In one study, the effect of breed on longevity in the pet dog was analyzed using mortality data from 23,535 pet dogs. The data were obtained from North American veterinary teaching hospitals. The median age at death was determined for purebred and mixed-breed dogs of different body weights. Within each body weight category, the median age at death was lower for purebred dogs compared with mixed-breed dogs. The median age at death was "8.5 years for all mixed breed dogs, and 6.7 years for all pure breed dogs" in the study.

In 2013, a study found that mixed breeds live on average 1.2 years longer than purebreds, and that increasing body weight was negatively correlated with longevity (i.e. the heavier the dog, the shorter its lifespan). Another study published in 2019 confirmed this 1.2 year difference in lifespan for mixed-breed dogs, and further demonstrated negative impacts of recent inbreeding and benefits of occasional outcrossing for lifespan in individual dogs.

Studies that have been done in the area of health show that mixed-breeds on average are both healthier and longer-lived than their purebred relations. This is because current accepted breeding practices within the pedigreed dog community result in a reduction in genetic diversity, and can result in physical characteristics that lead to health issues.

Studies have shown that crossbreed dogs have a number of desirable reproductive traits. Scott and Fuller found that crossbreed dogs were superior mothers compared to purebred mothers, producing more milk and giving better care. These advantages led to a decreased mortality in the offspring of crossbreed dogs.

Types
Mongrel dogs can be divided roughly into types:

Purebred dogs are known by breed names given to groups of dogs that are visibly similar in most characteristics and have reliable documented descent. In recent years many owners and breeders of crossbreed dogs identify them—often facetiously—by invented names constructed from parts of the parents' breed names. These are known as portmanteau names and the resulting crosses as "designer dogs". For example, a cross between a Pekingese and a Poodle may be referred to as a Pekeapoo. Other similarly named crossbreeds include the Goldendoodle, a cross between a Standard Poodle and a Golden Retriever, and the Dorgi, a cross between a Dachshund and a Welsh Corgi.
 * A small mongrel.jpg that show characteristics of two or more breeds. A mix might have some purebred ancestors, or might come from a long line of mixed-breeds. These dogs are usually identified by the breed they most resemble, such as a "Lab mix" or "Collie-Shepherd", even if their ancestry is unknown.
 * The generic pariah dog, or feral Canis lupus familiaris, where non-selective breeding has occurred over many generations. The term originally referred to the wild dogs of India, but now refers to dogs belonging to or descended from a population of wild or feral dogs. The Canaan Dog is an example of a recognized breed with pariah ancestry. Pariah dogs tend to be between yellow and light brown in color and of medium height and weight. This may represent the appearance of the modern dog's ancestor. DNA analysis has shown pariah dogs to have a more ancient gene pool than modern breeds.
 * Functional breeds, which are purpose-bred dogs whose ancestors are not purebred, but rather are selected by their performance at particular tasks. Examples of this are the Alaskan husky, the Eurohound, and the Pointer/Greyhound mixes referred to as Greysters, which compete at skijoring and pulka races, particularly in Europe. Occasionally, a functional breed such as this becomes accepted as a breed over time.

In dog sports

Until the early 1980s, mixed-breed dogs were usually excluded from obedience and other dog sport competitions. However, starting with the American Mixed Breed Obedience Registry (AMBOR) and the Mixed Breed Dog Clubs of America (MBDCA), which created obedience venues in which mixed-breed dogs could compete, more opportunities have opened up for all dogs in all dog sports. Most dog agility and fly ball organizations have always allowed mixed-breed dogs to compete. Today, mixed-breeds have proven their worth in many performance sports.

In conformation shows, where dogs' conformation to a breed standard is evaluated, mixed-breed dogs normally cannot compete. For purebred dogs, their physical characteristics are judged against a single breed standard. This is different in the case of mixed-breed dogs because they are difficult to classify, except for height. There is variation in physical traits such as coat, skeletal structure, gait, ear set, eye shape and color. When conformation standards are applied to mixed-breed dogs, such as in events run by the MBDCA, the standards are usually general traits of health, soundness, symmetry, and personality.

The Kennel Club (U.K.) operates a show called Scruffts (a name derived from its prestigious Crufts show) open only to mixed-breeds in which dogs are judged on character, health, and temperament. Some kennel clubs, whose purpose is to promote purebred dogs, still exclude mixed-breeds from their performance events. The AKC and the FCI are two such prominent organizations. While the AKC does allow mixed-breed dogs to earn their Canine Good Citizen award, mixed-breed dogs are not permitted to enter AKC "all breed" events, though through their "Canine Partners" program, mixed-breed dogs can be registered to compete in AKC Agility, Obedience, and Rally events.

title: Mongrel


text:
User talk:Tjunker

Nice work on the Wang page. Dpbsmith 23:48, 10 Mar 2004 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:Tjunker


text:
Mutt (email client)

Mutt is a text-based email client for Unix-like systems. It was originally written by Michael Elkins in 1995 and released under the GNU General Public License version 2 or any later version.

The Mutt slogan is "All mail clients suck. This one just sucks less."

Operation
Mutt supports most mail storing formats (notably both mbox and Maildir) and protocols (POP3, IMAP, etc.). It also includes MIME support, notably full PGP/GPG and S/MIME integration.

Mutt was originally designed as a Mail User Agent (MUA) and relied on locally accessible mailbox and sendmail infrastructure. According to the Mutt homepage "though written from scratch, Mutt's initial interface was based largely on the ELM mail client". New to Mutt were message scoring and threading capabilities. Support for fetching and sending email via various protocols such as POP3, IMAP and SMTP was added later. However, Mutt still relies on external tools for composing and filtering messages.

Mutt has hundreds of configuration directives and commands. It allows for changing all the key bindings and making keyboard macros for complex actions, as well as the colors and the layout of most of the interface. Through variants of a concept known as "hooks", many of its settings can be changed based on criteria such as current mailbox or outgoing message recipients. Mutt supports an optional sidebar, similar to those often found in graphical mail clients. There are also many patches and extensions available that add functionality, such as NNTP support.

Mutt is fully controlled with the keyboard, and has support for mail conversation threading, meaning one can easily move around long discussions such as in mailing lists. New messages are composed with an external text editor, unlike pine, which embeds its own editor known as pico.

Mutt is capable of efficiently searching mail stores by calling on mail indexing tools such as Notmuch, and many people recommend Mutt be used this way. Alternatively, users can search their mail stores from Mutt by calling grep via a Bash script.

Mutt is often used by security professionals or security-conscious users because of its smaller attack surface compared with other clients that ship with a web browser rendering engine or a JavaScript interpreter. In relation to Transport Layer Security, Mutt can be configured to trust certificates on first use, and not to use older, less secure versions of the Transport Layer Security protocol.

title: Mutt (email client)


text:
Juan Crisóstomo Arriaga

Juan Crisóstomo Jacobo Antonio de Arriaga y Balzola (27 January 1806 – 17 January 1826) was a Spanish Basque composer. He was nicknamed "the Spanish Mozart" after he died, because, like Wolfgang Amadeus Mozart, he was both a child prodigy and an accomplished composer who died young. They also shared the same first and second baptismal names; and they shared the same birthday (due to both having been born on the feast of St. John Chrysostom), 27 January (fifty years apart).

Life
Juan Crisóstomo Arriaga was born in Bilbao, Biscay, on what would have been Mozart's fiftieth birthday. His father (Juan Simón de Arriaga) and the boy's older brother first taught him music. Juan Simón had some musical talent and at age seventeen Juan Crisóstomo was an organist at a church in Berriatúa. Juan Simón worked in Guernica and in 1804 moved to Bilbao and became a merchant in wool, rice, wax, coffee and other commodities. The income generated in this way allowed Juan Simón to think about providing his son, who had shown prodigious musical talent, a way of developing those gifts.

In September 1821, Arriaga's father, with the encouragement of composer José Sobejano y Ayala (1791–1857), sent Juan Crisóstomo to Paris, where in November of that year Arriaga began his studies. These included violin under Pierre Baillot, counterpoint with Luigi Cherubini and harmony under François-Joseph Fétis at the Paris Conservatoire. From all evidence, Arriaga made quite an impression on his teachers. In 1823, Cherubini, who had become director at the Conservatoire the previous year, famously asked on hearing the young composer's Stabat Mater, "Who wrote this?" and learning it was Arriaga, said to him, "Amazing – you are music itself."

Arriaga soon became a teaching assistant in Fétis's class, noted and highly praised both by fellow students and other faculty at the Conservatoire for his talent. Cherubini referred to Arriaga's fugue for eight voices (lost) based on the Credo ... et vitam venturi simply as "a masterpiece", and Fétis was no less effusive — apparently, what impressed all his mentors was his use of sophisticated harmonies, counterpoint and fugue with minimal or no formal instruction. Fétis was already familiar with Arriaga's now-lost opera Los Esclavos Felices ("The Happy Slaves"), stating that "without any knowledge whatsoever of harmony, Juan Crisóstomo wrote a Spanish opera containing wonderful and completely original ideas." Arriaga was well supported during his four years in Paris by his father, but the intensity of his commitment to his studies at the Conservatoire and his meteoric rise, based on his teachers' compliments and assessments of his promise, may have taken a toll on his health: he died in Paris ten days before his twentieth birthday, of a lung ailment (possibly tuberculosis), or exhaustion, perhaps both. He was buried in an unmarked grave in the Montmartre Cemetery. Thanks to the Spanish Embassy, since 1977 there has been a plaque marking the house at 314 rue Saint-Honoré in memory of the composer.

Music
The amount of Arriaga's music that has survived to the present day is quite small, reflecting his early death. It includes:

 * Opera: Arriaga wrote an opera, Los esclavos felices ("The Happy Slaves"), in 1820 when he was fourteen. It was produced in Bilbao. Only the overture and some fragments have survived.
 * Symphony: Arriaga composed a Symphony in D for Large Orchestra (Sinfonía a gran orquesta), which uses D major and D minor so equally that it is not in either key.
 * String quartets: At the age of 16, Arriaga wrote three sparkling and idiomatic string quartets that were published in 1824, and were the only works of his published during his lifetime.
 * Other works: Arriaga also wrote the following:
 * An octet, Nada y mucho scored for String Quartet, Bass, Trumpet, Guitar and Piano.
 * Pieces of church music: a Mass (lost), Stabat Mater, Salve Regina, Et vitam venturi saeculi (lost), cantatas (Agar, Erminia, All' Aurora, Patria)
 * Instrumental compositions: a nonet, Tres Estudios de Character for piano, La Húngara for violin and piano, Variations for String Quartet and numerous Romances

Arriaga's music was used to create an opera pasticcio, Die arabische Prinzessin. The work was commissioned by the Barenboim-Said Foundation from the composer Anna-Sophie Brüning and the author Paula Fünfeck, and is based on a traditional Arabic tale. The piece was premiered under the title Die Sultana von Cadiz by the West-Eastern Divan Orchestra of the Barenboim-Said Foundation and local children's choirs at the Cultural Palace, Ramallah on 14 July 2009. The music publisher Boosey & Hawkes lists further performance runs in Leipzig (in 2011); in Bonn, Bilbao, and Barañáin (in 2013); and in Madrid, Coburg, and Linz (in 2014).

Stature

Arriaga's music is "elegant, accomplished and notable for its harmonic warmth" (New Grove Concise Dictionary of Music). His greatest works are undoubtedly the three string quartets, which (like his predecessors', D. Scarlatti, Soler and Boccherini) contain notably Spanish ethnic rhythmic and melodic elements, especially in the galloping 6/8 finale of No. 1 in D minor and the meditative second (slow) movements of No. 2 in A major (an impressive set of variations in D major taking off from the slow D major variation movements in Mozart's K. 464 and Beethoven's Op. 18 No. 5 (both also in A major as a whole), which climaxes in a D minor variation even more passionate than Mozart's D minor variation in K. 464, in the form of an impassioned, plangent lament on the top two strings of the viola going up to the second A above middle C) and No. 3 in E-flat major (a tender G major lullaby for the newborn Christ child). Periodwise, his style is on the borderline between late Classicism and early Romanticism, ranging from the late Classical idiom of Mozart to the proto-Romanticism of early Beethoven.

According to Grove, Arriaga's death "before he was 20 was a sad loss to Basque music". Following his early death, with the only reliable biographical material at the time being some reports by Fétis, his life story was fictionalized to play into rising Basque nationalism. Data on the composer remains scarce, but in 1989 the Basque Studies program at the University of Nevada, Reno published the only English language biography of Arriaga, with appendix and bibliography of works, written by Barbara Rosen (Arriaga, the Forgotten Genius: the Short Life of a Basque Composer ); and in honor of the 200th anniversary of Arriaga's birth, Scherzo, the Spanish musical magazine, published a series of articles on the composer, with updated bibliographies, in its January 2006 issue. The view that emerges from both these newer sources does not contradict what Fétis said, but emphasizes that Arriaga's early death was a loss not just to Basque culture but also to Spanish music and by extension, European classical music as a whole. According to Rosen "It is [...] possible to hear passages in Arriaga's work similar to Haydn, Mozart, Beethoven and Rossini, although he sometimes fails to achieve the complexity of these composers' more mature works. Nevertheless, Arriaga has an identifiable and original style which, in time, undoubtedly would have become more individual and more recognizably his own, possibly incorporating more Spanish and Basque than Viennese elements."

A public theatre in his home city of Bilbao carries his name.

Selected recordings

 * O salutaris Hostia. Stabat Mater dolorosa. Air d’Oedipe à Colone. Herminie. Air de Médée. Duo de Ma Tante Aurore. Agar dans le desert. Il Fondamento, Paul Dombrecht. Fuga Libera FUG515 2005
 * Juan Crisóstomo de Arriaga (1806–1826). The complete string quartets. La Ritirata – Josetxu Obregón. Glossa GCD923102, 2014

title: Juan Crisóstomo Arriaga


text:
User talk:Steggall

Hello to set up a redirect, type:

 * 1) REDIRECT article title

copyright tag
Image:Moncton_Welcome.JPG needs a copyright tag. would probably be the best choice, but obviously its up to you. Thanks -- elykyllek 00:07, Nov 14, 2004 (UTC)
 * To add a tag such as the   to an image, to go the image page, click edit this page then add  to the line below your description.  Please add the tag you choose to all of your images.  Thanks. -- elykyllek 02:05, Dec 20, 2004 (UTC)

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Hi! Thanks for uploading Image:Ottawa Airport.JPG. I notice it currently doesn't have an image copyright tag. Could you add one to let us know its copyright status? (You can use if you release it under the GFDL, or  if you claim fair use, etc.) If you don't know what any of this means, just let me know where you got the images and I'll tag them for you. Thanks so much, Edwinstearns 19:42, 9 Dec 2004 (UTC)

 * If you took the picture yourself, you can tag it as, which is the same license that all of the regular text contributions, or you can choose  which is a template that releases the picture into the public domain, that is anyone can use it without crediting you or Wikipedia. I will tag it as re for you and you can change it if you want.    — Edwin Stearns | Talk 21:03, 19 Dec 2004 (UTC)

 * I've found another picture that you took (Image:Rideau Sign.JPG) and tagged it – hope that is ok! If not you can go back and retag it however you wish. --MaxPower 15:00, 2005 Jan 11 (UTC)

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WikiWednesday tonight + Sunday Wiki-Tent Brunch
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NYC Wiknic, June 26
Hold the date. Meetup/NYC Wiknic in Crotona Park, Sunday June 26.

Watch Meetup/NYC/Wiknic June 2022 for further details as they become available.

MediaWiki message delivery (talk) 21:32, 3 June 2022 (UTC)

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Sun June 26: Bronx Wiki-Picnic
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Sat Oct 29: Wikidata Day in NYC
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Mar 8: WikiWednesday Salon by Grand Central
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Sat: Earth Day Edit-a-thon + Sun: Wiki-Picnic
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May 17: WikiWednesday Salon + Queering Wikipedia
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WikiWednesday (Aug 23) and Governors Island Wiki-Picnic (Sun Aug 27)
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Wiki.NYC Pavilion for Open House New York (Oct 21–22) and Wikidata Day (Oct 29)
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Nov 15: WikiWednesday Salon + Wikimedia NYC Executive Director job
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Thu Jan 4: Hacking Night + Wikipedia Day soon
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Thu Feb 8 NYC Hacking Night + Feb 21 WikiWednesday
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Tue March 5: Wiki Gala NYC
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WikiNYC: 3/14 Hacking Night + 3/16 Queens Name Explorer
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WikiWednesday (April 10) and City Tech Library LGBTQIA edit-a-thon (April 11)
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May 8: WikiWednesday Salon with new Executive Director
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title: User talk:Steggall


text:
The Teen Idles

The Teen Idles were an American hardcore punk band formed in Washington, D.C., in September 1979. Consisting of teenagers Nathan Strejcek, Geordie Grindle, Ian MacKaye and Jeff Nelson, they recorded two demo sessions and the 1980 Minor Disturbance EP before breaking up in November 1980. The influential independent record label Dischord Records was originally created with the sole purpose of releasing The Teen Idles Minor Disturbance 7" record. They were an early landmark in the D.C. hardcore movement, and MacKaye and Nelson would later form the seminal punk rock outfit Minor Threat.

The Teen Idles were among the first punk groups from the early 1980s hardcore movement to break out of their regional scene to tour and sell nationally. Inspired by other American punk bands like the Cramps and Bad Brains, the Teen Idles' music was an early version of hardcore punk, and an attempt, in the words of MacKaye, "to get away from a really corrupted music". Their appearance, lyrics and musical style sought to revive a punk movement that they believed had lost its original zeal.

Formation
In 1978, Washington teenager MacKaye discovered punk rock through a local college radio station, Georgetown University's WGTB. He met Nelson at Woodrow Wilson High School a classmate of his, after the latter set off a pipe bomb outside their school and MacKaye went to investigate. The two became friends and quickly discovered their shared interest in punk. MacKaye and Nelson saw their first punk show in January 1979—a benefit concert by the Cramps for WGTB. The concert inspired the pair; MacKaye later admitted, "It blew my mind because I saw for the first time this huge, totally invisible community that had gathered together for this tribal event. [...] I thought, 'This appeals to me. This is the world I think I can breathe in. This is what I need'".

After seeing a Bad Brains concert, MacKaye and Nelson began playing in a punk band, The Slinkees, with school friends Grindle and Mark Sullivan. The Slinkees played a single show before Sullivan went to college. After a failed attempt to recruit MacKaye's friend Henry Garfield (later Henry Rollins), the band added Strejcek as the vocalist. The Slinkees soon renamed themselves the Teen Idles. After touring and practicing for several months, the band recorded two demo sessions at a local studio in February and April 1980, despite the engineer and a visiting band openly laughing as they recorded. They also began playing at house parties and pizza parlors, and opened for Bad Brains at an art gallery, in a dilapidated row house in the Adams-Morgan neighborhood, called Madam's Organ.

Appearance
To revive the fervor of punk, which the band felt was being distorted by new wave, the Idles sought to look as intimidating as possible. They shaved their heads, grew mohawks and wore various punk accessories. Nelson and MacKaye even drove thumbtacks into the soles of their boots so they would make an "ominous clacking" sound when they walked. The band's visual presentation was at odds with their demeanor; according to MacKaye, "In our shows and within our own community, we were totally goofy guys. We were painfully honest—we didn't shoplift, we didn't vandalize, we didn't spray-paint. [...] We don't do anything—everybody just hates us because of the way we look".

The Music
The members of Teen Idles were not considered to be as musically talented as other bands. The band was known for their ability to irritate using their lyrics. The lyrics consisted of no melody and digs at different things; such as, drug culture.

West Coast tour and Inner Ear
After a number of concerts in D.C. opening for bands such as the Untouchables, the Idles decided to tour the West Coast in August 1980. Along with roadies Garfield and Sullivan, the band traveled to California. They were immediately hassled by police upon their arrival, and after challenging the police, Nelson was handcuffed for an hour. When the Teen Idles eventually began their tour, they were refused entry at Los Angeles' Hong Kong Café because of their age. Originally due to open for the Dead Kennedys and the Circle Jerks, they settled for playing the next night, opening for the Mentors and a band called Puke, Spit and Guts in exchange for just $15. The Teen Idles impressed those at the venue; MacKaye later said, "People were freaked out by how fast [we played]".

Upon returning to D.C., the Teen Idles were asked by Skip Groff, owner of the Washington record store Yesterday and Today, to record some tracks at Inner Ear, a small recording studio in Arlington, Virginia. They were introduced to engineer and owner Don Zientara (the "studio" was a four-track recorder at Zientara's house). The Teen Idles played live in the basement while Zientara engineered and Groff produced. Seven tracks were recorded in total. However, the band was undecided about what to do with the tapes and eventually shelved them.

Breakup and Minor Disturbance
In late 1980, the Teen Idles decided to break up, mostly because Grindle had fallen out with Nelson. Grindle's new girlfriend, a born-again Christian, disapproved of the band, causing Grindle to question his role. Tensions between Grindle and Nelson, who was an outspoken atheist, escalated until Grindle decided to quit. Their last show was on November 6, when they opened for SVT at the 9:30 Club. It was a key event for the popularity of all-ages shows—where alcohol was not for sale, and thus no age restriction for admission. Previously, at the Mabuhay Gardens in California, the band was allowed entry to the club only after big "X"s were drawn on their hands—this showed that they were under the legal drinking age. The Idles suggested this to 9:30's management, and vowed that if youths were caught drinking, the club could ban them. The management agreed; the Teen Idles' final show passed without incident.

After a year in existence, the band had earned a total of $600. They now faced two options: divide the money among the members, or press the recordings they had made with Zientara at Inner Ear. Choosing the latter, Nelson, Strejcek and MacKaye formed Dischord Records with Groff's help, to release the recordings. The band sent the tapes to a pressing plant in Nashville, Tennessee that specialized in pressing country music records. Initially puzzled by the request to put eight songs on a 7" record, they pressed 1,000 copies. For the cover, the band took apart another 7" record sleeve and used it as a template for their own cover design. They photocopied it on 11" × 17" paper, which the band members cut out with scissors, folded and glued by hand, then into these inserted the records and lyric sheets. Released in December 1980, Minor Disturbance was a local success, receiving radio airplay and reviews from fanzines such as Touch and Go, which meant that Dischord now had enough money to release records by other bands.

Later projects
After the Teen Idles disbanded, Grindle chose not to pursue a career in music. By the time of Minor Disturbance's release, Nelson and MacKaye had already formed Minor Threat. The new band's first show was on December 17, 1980. Strejcek became involved in the running of Dischord, until Nelson and MacKaye, disappointed by his lack of effort, "decided to take it back".

Legacy
The Teen Idles appeared on several hardcore punk compilations throughout the 1980s and 1990s, most prominently the influential collection Flex Your Head, issued by Dischord in January 1982.

To celebrate the label's 100th release, Dischord issued the Anniversary EP in 1996, comprising the two demo sessions the band had recorded in February and April 1980.

Musical style and outlook

According to journalist Michael Azerrad, the Teen Idles "played proto-hardcore tunes that skewered their social milieu". MacKaye later explained in the hardcore documentary Another State of Mind: "When I became a punk, my main fight was against the people who were around me — friends". When MacKaye was 13, he moved to Palo Alto, California for nine months. On his return, his friends had begun taking drugs and drinking. He remarked, "I said, 'God, I don't want to be like these people, man. I don't fit in at all with them.' So it was an alternative".

The graphic emblem most associated with the straight edge movement is a black "X", typically drawn on the wearer's hands with a marker. According to MacKaye, "We were in San Francisco, and we played a place called Mabuhay Gardens. They figured out we were underage, and they wouldn't let us play. We worked out a deal with their management that we just wanted to play and we weren't going to drink, so they got a marker and put a big 'X' on our hand, So we came back to Washington, D.C., and went to this nightclub, the 9:30, and said 'Hey look, we're not going to drink and we will put this 'X' on our hand. If you see us drinking you can throw us out forever. We are not going to drink, we just came to see the music'". The band adopted the marking, and though it was initially meant to signify youth, it became a wider emblem for bands prepared to play to audiences under the legal age to be served alcohol. MacKaye noted that at the time the symbol "wasn't supposed to signify straight edge—it was supposed to signify kids. It was about being young punk rockers... it represents youth".

Most of the band's lyrics were written by MacKaye. Like the group's appearance, their lyrical subject matter reacted against the then dominant new wave scene, and the perceived complacency that many first-wave punk bands, including the Clash and the Damned, seemed to have fallen into by the early 1980s. In "Fleeting Fury", Strejcek pleads, "The clothes you wear have lost their sting / So's the fury in the songs you sing". The Teen Idles were strongly influenced by punk bands in Washington and California, such as Bad Brains, Black Flag, and the Germs. These influences were reflected in the Teen Idles' songs, which consisted mostly of Strejcek shouting over a one-two hardcore beat, with MacKaye and Grindle providing short and speedy riffs, interspersed with quick guitar solos from Grindle.

Band members
Former members
 * Nathan Strejcek − lead vocals (1979–1980)
 * Geordie Grindle − guitar (1979–1980)
 * Ian MacKaye − bass (1979–1980)
 * Jeff Nelson − drums (1979–1980)

EPs

 * Minor Disturbance 7" (1980, Dischord)
 * Anniversary 7" (1996, Dischord)

Compilation appearances

 * "I Drink Milk", "Commie Song" and "No Fun" on Flex Your Head (1982, Dischord)
 * "Teen Idles" on Where Is J.R. ? cassette (1982, Schrott)
 * complete Minor Disturbance on Four Old 7"s on a 12" (1984, Dischord)
 * complete Minor Disturbance on Dischord 1981: The Year in Seven Inches (1995, Dischord)
 * "Get Up and Go" and "Deadhead" on 20 Years Of Dischord (1980 - 2000) box set (2002, Dischord)

title: The Teen Idles


text:
Teen Idols

The Teen Idols were a pop punk band originally from Nashville, Tennessee. They were formed in 1992 by Phillip Hill and originally broke up in 2003. The band reunited in 2008 in Chicago, Illinois, with a retooled lineup before breaking up again in 2010.

History
The band was formed in 1992 in Nashville, Tennessee and quickly gained local popularity while playing at venues such as Lucy's Record Shop and receiving frequent airplay on Nashville college radio. During the mid-90s, they released several EPs under the local indie label, House O' Pain. In 1996, the Nashville Music Association nominated the band for their Independent Artist of the Year award. A year later, the Teen Idols released their first full-length album under the indie label Honest Don's Records. They released two other albums under the Honest Don's label before signing to Fueled by Ramen in early 2003. Around that time, Keith Witt left the band and Kevin Sierzega (formerly of Detroit-based P.T.'s Revenge) took over the vocals. Shortly thereafter, the band released the album Nothing to Prove in July 2003, but broke up during the subsequent tour. During their heyday, the Teen Idols headlined many tours in the U.S. and played support with other notable bands such as NOFX, Anti-Flag, Less Than Jake, and The Queers.

After the breakup of the Teen Idols, Tabor, Yonker, and Witt joined forces with Geis and Gui from Rehasher and have toured and recorded as the band Bullets to Broadway. The band released one album, Drink Positive, and supported Lagwagon and Lawrence Arms on US legs as well as Less Than Jake on their 2006 European tour. Yanker went on to play with The Queers, Ben Weasel, The Methadones and would own Drastic Sounds Recording Studio in Nashville. Hill did duties with many bands including The Queers, Screeching Weasel, and Even in Blackouts.

In December 2008, the Teen Idols announced that they had decided to come out of retirement and would soon be making new records and playing shows again. In early 2009, the Teen Idols announced a tentative agreement to sign with Fat Wreck Chords but an official contract never materialized. Later that year, guitar player Phillip Hill was hospitalized with four broken ribs and a collapsed lung after trying to break up a fight. Because he lacked health insurance, an account was set up to help raise money for his medical bills. The band broke up again in June 2010.

Former bassist Roxanne "Rocksan" Biggerstaff, who later worked as a professional wrestling valet in various promotions, especially under the ring name BellaDonna as part of the early 2000s stable The Disciples of the New Church in Impact Wrestling when it was known as Total Nonstop Action Wrestling (TNA), died on January 21, 2019. She was 39.

Final lineup

 * Phillip Hill – guitar (1992–2010)
 * Keith Witt – vocals (1995–2000, 2008–2010)
 * Chris Mason – drums (2009–2010)
 * Yvonne Szumski – bass (2009–2010)

Former members

 * Jemima Kate – bass (2008–2009)
 * Nathan Bice – drums (2008–2009)
 * Kevin Sierzega – vocals (2001–2003)
 * Heather Tabor – bass (1996–2003)
 * Matt Yonker - drums (1996–2003)
 * Wes White – drums (1994–1996)
 * Roxanne "Rocksan" Biggerstaff – bass (1995–1996; died 2019)
 * Keaton Sims – vocals (1994–1995)
 * Janell Saxton – bass (1992–1995)
 * Steve Saxton – drums (1992–1994)
 * Matt Benson – vocals (1992–1993)
 * Chris Trujillo – drums (1992)

Studio albums

 * Teen Idols (1997)
 * Pucker Up (1999)
 * Full Leather Jacket (2000)
 * Nothing to Prove (2003)

Singles and EPs

 * Old Days, Old Ways (EP) (1993)
 * Nightmares (EP) (1994)
 * Let's Make Noise (EP) (1995)
 * Teen Idols Split with Mulligan Stu (EP) (1996)
 * V.M.Live Presents Teen Idols (EP) (1996)
 * Teen Idols/Khrissy (split EP) (1996)
 * Teen Idols/Spread (split EP) (1999)
 * The Dysfunctional Shadowman Split CD (2003)

Compilation appearances

 * I Can't Believe It's Not Water (1996)
 * Four On the Floor (1998)
 * Short Music for Short People (1999)
 * Honest Don's Greatest Shits (1999)
 * Another Round of Golf, Vol 5 (2003)
 * Untitled 21: A Juvenile Tribute to the Swingin' Utters (2010)

title: Teen Idols