In case you haven’t noticed: it’s 2014, and that would make it a full 20 years since punk “broke.”  Every music site, blog, and print publication worth its salt has been taking the opportunity to commemorate the 20-year anniversaries of all the big releases of 1994 that came under the general banner of “alternative”:  Green Day’s Dookie, The Offspring’s Smash and Weezer’s (officially self-titled) Blue Album have all regularly been getting the once over again to verify that yes, they do still stand up a whole two decades later.  However, the records I find more interesting from this period are the oddities; the records which didn’t have the colossal commercial and cultural impact of the aforementioned classics; the stranger fruits that only the fertile soils of the mid-90s post-Nirvana musical climate could have produced.  And to my mind, there’s no record that quite embodies that sense of brazen individuality and commitment to intensity as well as Yank Crime, the second and final full-length by San Diego’s Drive Like Jehu.Drive Like Jehu were a band that didn’t so much play their instruments as savagely wring the noise right out of them.  The vast majority of their songs harnessed that frantic runaway-train feeling where everything was always seemingly only a few seconds away from collapsing in on itself, something the band damn near perfected on their 1991 self-titled album.  For its follow-up they seemed largely intent on taking every aspect that defined their sound and cranking each one up several notches.  Yank Crime is a remarkable listen even today; a mind-boggling tower of noise that sees complex, mile-a-minute drum patterns stacked on top of jugular-tearing basslines, vocals that scream, yelp and drawl with little regard for melody, and fucked up walls of squalling guitar abuse.  Really, it’s the latter element that defines the album; just listen to the closing third of 9+ minute album centrepiece “Luau” and try to identify anything that even remotely resembles a traditional riff.  And yet there’s a distinct sense that these guys knew exactly what they were doing; every creaking blast of feedback seems somehow controlled; the intricate overlapping of Rick Froberg and John Reis’ guitars seems to tease the listener with the occasional, brief split-second of harmony before they both turn tail in opposite sonic directions and run off wild-eyed on tangents, strangling out noises you’d scarcely believe one could make with a guitar.I realise that the last paragraph saw me trying in vain to grasp at all manner of adjectives in an effort to describe a wholly individual album (one that sounds light-years removed from even the closest kindred spirits to which one might compare it) so if you’re not familiar with Drive Like Jehu, it’s worth taking a few minutes at this point in the procedings to look up a song or two from the album on YouTube and take it all in (opener “Here Come the Rome Plows” is as good a starting point as any).  Hell, even if you’re a fan, it’s worth putting the record on for a direct reminder of the sounds I’ve been struggling to describe.  Whilst you’re listening, consider for a moment the most remarkable fact about Yank Crime: IT WAS RELEASED BY A MAJOR LABEL.  I shit you not.  Reis’ other band Rocket From the Crypt had spent several months at the centre of a major-label bidding war which was ultimately won by Interscope Records after they agreed to Reis’ laundry list of demands, including a contract clause that tied the label to releasing any albums recorded by the band members’ other musical projects.  RFTC more than justified Interscope’s gamble with 1995’s smash-hit Scream, Dracula, Scream, but not before Reis had used his first handful of major label money to bankroll the recording of Yank Crime.  Which helpfully allows us to arrive at an explanation for why the album sounds as earth-shatteringly huge as it does, particularly in comparison to the more basic, scrappy recording quality of its predecessor.  Drive Like Jehu quietly disbanded shortly after the album’s release, and although three of the four members continued to pursue careers in music (drummer Mark Trombino is a celebrated producer, while Froberg and Reis continued making music with multiple bands, even reconvening six years later when they formed Hot Snakes) they’ve all, perhaps wisely, never tried to emulate or outdo what they achieved with Yank Crime, and to this day it still stands as arguably the most uncommercial, caustic and yet completely engaging albums ever to be released by a major label.  In the decades since, few other bands have attempted to plow quite the same unhinged furrow, and fewer still have succeeded with anything like the same results (although to my mind, Glass and Ashes came close with their 2008 self-titled effort).  To top it all off, word recently got out that the band will be celebrating Yank Crime's 20th anniversary by reforming for a show in San Diego.  The full extent of this reunion remains to be seen, and I'm crossing my fingers for (at the very least) some UK dates, or even (dare I say it) a long-overdue attempt to follow up the monumental flash of lightning they so deftly managed to bottle up 20 years ago.

In case you haven’t noticed: it’s 2014, and that would make it a full 20 years since punk “broke.”  Every music site, blog, and print publication worth its salt has been taking the opportunity to commemorate the 20-year anniversaries of all the big releases of 1994 that came under the general banner of “alternative”:  Green Day’s Dookie, The Offspring’s Smash and Weezer’s (officially self-titled) Blue Album have all regularly been getting the once over again to verify that yes, they do still stand up a whole two decades later.  However, the records I find more interesting from this period are the oddities; the records which didn’t have the colossal commercial and cultural impact of the aforementioned classics; the stranger fruits that only the fertile soils of the mid-90s post-Nirvana musical climate could have produced.  And to my mind, there’s no record that quite embodies that sense of brazen individuality and commitment to intensity as well as Yank Crime, the second and final full-length by San Diego’s Drive Like Jehu.

Drive Like Jehu were a band that didn’t so much play their instruments as savagely wring the noise right out of them.  The vast majority of their songs harnessed that frantic runaway-train feeling where everything was always seemingly only a few seconds away from collapsing in on itself, something the band damn near perfected on their 1991 self-titled album.  For its follow-up they seemed largely intent on taking every aspect that defined their sound and cranking each one up several notches.  Yank Crime is a remarkable listen even today; a mind-boggling tower of noise that sees complex, mile-a-minute drum patterns stacked on top of jugular-tearing basslines, vocals that scream, yelp and drawl with little regard for melody, and fucked up walls of squalling guitar abuse.  Really, it’s the latter element that defines the album; just listen to the closing third of 9+ minute album centrepiece “Luau” and try to identify anything that even remotely resembles a traditional riff.  And yet there’s a distinct sense that these guys knew exactly what they were doing; every creaking blast of feedback seems somehow controlled; the intricate overlapping of Rick Froberg and John Reis’ guitars seems to tease the listener with the occasional, brief split-second of harmony before they both turn tail in opposite sonic directions and run off wild-eyed on tangents, strangling out noises you’d scarcely believe one could make with a guitar.

I realise that the last paragraph saw me trying in vain to grasp at all manner of adjectives in an effort to describe a wholly individual album (one that sounds light-years removed from even the closest kindred spirits to which one might compare it) so if you’re not familiar with Drive Like Jehu, it’s worth taking a few minutes at this point in the procedings to look up a song or two from the album on YouTube and take it all in (opener “Here Come the Rome Plows” is as good a starting point as any).  Hell, even if you’re a fan, it’s worth putting the record on for a direct reminder of the sounds I’ve been struggling to describe.  Whilst you’re listening, consider for a moment the most remarkable fact about Yank Crime: IT WAS RELEASED BY A MAJOR LABEL.  I shit you not.  Reis’ other band Rocket From the Crypt had spent several months at the centre of a major-label bidding war which was ultimately won by Interscope Records after they agreed to Reis’ laundry list of demands, including a contract clause that tied the label to releasing any albums recorded by the band members’ other musical projects.  RFTC more than justified Interscope’s gamble with 1995’s smash-hit Scream, Dracula, Scream, but not before Reis had used his first handful of major label money to bankroll the recording of Yank Crime.  Which helpfully allows us to arrive at an explanation for why the album sounds as earth-shatteringly huge as it does, particularly in comparison to the more basic, scrappy recording quality of its predecessor.  

Drive Like Jehu quietly disbanded shortly after the album’s release, and although three of the four members continued to pursue careers in music (drummer Mark Trombino is a celebrated producer, while Froberg and Reis continued making music with multiple bands, even reconvening six years later when they formed Hot Snakes) they’ve all, perhaps wisely, never tried to emulate or outdo what they achieved with Yank Crime, and to this day it still stands as arguably the most uncommercial, caustic and yet completely engaging albums ever to be released by a major label.  In the decades since, few other bands have attempted to plow quite the same unhinged furrow, and fewer still have succeeded with anything like the same results (although to my mind, Glass and Ashes came close with their 2008 self-titled effort).  To top it all off, word recently got out that the band will be celebrating Yank Crime's 20th anniversary by reforming for a show in San Diego.  The full extent of this reunion remains to be seen, and I'm crossing my fingers for (at the very least) some UK dates, or even (dare I say it) a long-overdue attempt to follow up the monumental flash of lightning they so deftly managed to bottle up 20 years ago.

Newcastle is ALL about bridges.  It’s awesome.  #newcastle #river #tyne #bridge #bridges #sky #evening (at River Tyne NE1)

Newcastle is ALL about bridges. It’s awesome. #newcastle #river #tyne #bridge #bridges #sky #evening (at River Tyne NE1)

S’up Leeds? #cityscape #hotel #window #night  (at Leeds city centre)

S’up Leeds? #cityscape #hotel #window #night (at Leeds city centre)

Just listened to Minor Threat on an old-school jukebox.  This place is awesome!  #jukebox #hxc #hardcore #punk #templeofboom #vinyl #yeah  (at Temple Of Boom Leeds)

Just listened to Minor Threat on an old-school jukebox. This place is awesome! #jukebox #hxc #hardcore #punk #templeofboom #vinyl #yeah (at Temple Of Boom Leeds)

1 note

Anecdotes by medical practitioners

"A woman came in for a baby check with her 6-month-old and she had what looked like chocolate milk in the baby’s bottle. So he started explaining to her as kindly as he could that she shouldn’t be giving her baby chocolate milk. At which point she interrupts him and says, ‘Oh that isn’t chocolate milk. It’s coffee! He just loves it!”

"I had a patient come in for an STD check. She was very upset and continued to tell me that she only had one partner. Progressing through my assessment, she further divulged that even if he was sleeping with other people it shouldn’t matter ‘because he uses a condom every time and he makes sure to wash it thoroughly after every use’.”

"Had a lady who measured her baby’s temperature by pre-heating the oven and putting one hand in front of it while the other hand was on the baby’s forehead. She told the nurse her baby’s fever was about 250 degrees.”

"Lady has to have foot amputated and is given waiver forms to sign pre-op. Buddy asks if she needs time to think about it. She’s very nonchalant and doesn’t seem to care much what they do. He gets suspicious and probes a bit as to why she’s not more concerned. She says she gets that they have to operate and it’s OK because the foot will grow back.”

"I had a couple who had been trying to conceive for over two years. I asked all the usual questions, how often do you have sex, any previous pregnancy, etc etc. Something seemed off to me during the consult, so I continued to ask questions. Finally I asked if he ejaculated while inserted into the vagina. Both parties looked confused.Turns out the couple was not having insertional sex at all. I had to awkwardly explain to them how insertional sex works. Diagrams were required.”

"Patient comes in, she’s upset. She’s pregnant, and she doesn’t understand why. She’s on the pill. Upon talking to her at great length, I find out that she only takes the pills on the days that she is sexually active – no other time.”

"Patient comes in with her bf. They are indignant, as if somehow I could’ve prevented [the pregnancy]. The problem? Well, the pills were bothering the girl’s stomach, so, being a gallant bf, he decided to start taking them instead.”

“I was explaining the treatment to the husband of a patient about to be discharged. He kept nodding and agreeing with me, but I knew it was flying over his head. Turned out a fundamental problem was that I was describing the drugs as ‘tablets’ and he had no clue what those were.”

Reddit thread 

Roll up, roll up!!! Marvel at the many-splendoured stupidity of the world’s dumbest humans!!!

(Source: moshita)

287,664 notes

mintapeter:

ryanpanos:

Tidal Pools | Pim Vuik

ilyet a balatonra a döglött partfal és a felszedhető algás lépcsők és magánstrandok helyett!!

Please tell me at least one of these is in the UK!?!? I’m too skint to get a flight, but I will drive right to the other end of the country for a swim in one of these!!!

424 notes

Look out for my new solo LP, “The Love Wand:” ten hard-soul love-jams to make your heart melt and your loins quiver.  Right on.

Look out for my new solo LP, “The Love Wand:” ten hard-soul love-jams to make your heart melt and your loins quiver. Right on.

The dopest of bros. #brohangouts #derbyshire #greatoutdoors

The dopest of bros. #brohangouts #derbyshire #greatoutdoors

Fucksake man, I wasn’t gonna! #warning #safety #statethefuckingobvious  (at Ladybower Dam)

Fucksake man, I wasn’t gonna! #warning #safety #statethefuckingobvious (at Ladybower Dam)

#skyporn #clouds #cloudporn #sky #colours #ohyeah  (at Ladybower Dam)

#skyporn #clouds #cloudporn #sky #colours #ohyeah (at Ladybower Dam)

Out in’t sticks…  (at Heatherdene)

Out in’t sticks… (at Heatherdene)

Found a hole in the Earth today… #hole #bottomless #dam(n) (at Ladybower Reservoir, Peak District National Park Derbeshire)

Found a hole in the Earth today… #hole #bottomless #dam(n) (at Ladybower Reservoir, Peak District National Park Derbeshire)

Couldn’t find a Mogwai (the band) shirt I liked, so I got one featuring the Gremlin of the same name instead.  #win #mogwai #postrock #youngteam #dontfeedmeaftermidnight

Couldn’t find a Mogwai (the band) shirt I liked, so I got one featuring the Gremlin of the same name instead. #win #mogwai #postrock #youngteam #dontfeedmeaftermidnight

No word of a lie.

No word of a lie.

@las0687 and I went to Yorkshire Sculpture Park today. It’s a 500 acre park with a huge variety of temporary and permanent installations, as well as some beautiful architecture and landscapes. When I was a kid, I used to have a recurring dream where I’d explore the gardens of the estate I lived on by night and find all sorts of strange and fascinating sculptures in each. Many of those we saw today were reminiscent of the ones I dreamed about as a child. I was walking around in awe for most of the day! Whether you want to ponder the meaning and motivation behind the works or just treat your eyes to a visual feast, I’d highly recommend visiting! #yorkshire #sculpture #park #ysp #arts #barnsley #wakefield #dayout (at Yorkshire Sculpture Park)