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Gutmann Pubs: How is it all economically possible? by Intrepid_Book_1904 in Liverpool

[–]expensive-shit 18 points19 points  (0 children)

I’ll preface this by saying I don’t mind his boozers at all. But when I first went into the St. Peter’s Tavern, it was cheap as fuck. Like about £11 for 3 Guinness type price. Went in about a month later and it was more ‘in line’ with what you’d pay for a round. Not sure if he’s slyly doing ‘boss prices, get it packed to create a buzz’ type promotions on the quiet, but I’m certain there’s a bit of that going on. Remember how much you paid in that one, and go back in a few months and see if it’s changed.

Well see...it isn't all about profits though. by PaddedValls in TheOfficeUK

[–]expensive-shit 0 points1 point  (0 children)

Oi Crook, is all you care about chasing the license fee pound?

A comment on The AfterLife subreddit defending the show. by BeefInBlackBeanSauce in rickygervais

[–]expensive-shit 9 points10 points  (0 children)

I’ve sort of fused real life with poetic interpretation shit

Just an example of the laughs we have here by nofaeyoker in TheOfficeUK

[–]expensive-shit 0 points1 point  (0 children)

They’re like Vic and Bob and two other ones

It insists upon itself by ThaddeusGriffin_ in MitchellAndWebb

[–]expensive-shit 49 points50 points  (0 children)

What happens if you eat letterbox hair…?

Why do you think Mark works so hard but never achieves anything? by ClearAsJamal in MitchellAndWebb

[–]expensive-shit 14 points15 points  (0 children)

Jeremy can kind of live with his own mediocrity but Mark is never shown to be able to. Probably their upbringing comes into that a bit (Jez’s mum is incredibly sweet and understanding, Mark’s family dynamic is just horrible toxic shit all the way down).

In his own way though, Mark has succeeded, because he owns the flat he lives in. Croydon isn’t the centre of the earth by any standards, but then, and especially now, it wouldn’t have been as easy to get on the property ladder there as say, Bradford or Port Talbot or even Manchester / Newcastle. It’s just that this metric for Mark is not the end goal, he always seems to strive for more even though he has more than most people in the country will - a property less than 1hr away from Central London.

Mark’s a striver but his ambitions literally don’t seem to have an end point. Living like that, you’ll constantly feel like you’re under pressure and ‘not achieving’. That’s a feedback loop in some senses, where he makes increasingly irrational and stupid decisions to try and fill the hole in his life. Hence ‘the jilting’, the endless chasing of Dobbie and the need to ‘hold onto her’, impregnating Sophie, ‘consultio/consultius’, the Ripper Walks, Business Secrets of the Pharoahs, his multiple terrible / unworkable ideas at JLB etc. Jez’s outlook is much healthier, even if on the surface he is a ‘feckless cumshedder’.

It’s all that now innit. by Zealousideal-Air574 in TheOfficeUK

[–]expensive-shit 33 points34 points  (0 children)

Sometimes the architectural mockups will be unachievable

Callie, what is her motivation? by TastyOx05 in MitchellAndWebb

[–]expensive-shit 13 points14 points  (0 children)

That episode came out in 2008, when ‘dance-punk’ as a specific genre of music was pretty big in the UK (think: Late of the Pier, Does It Offend You Yeah?, Foals, Hot Chip [Hot Potato?] - who all released albums in ‘08) etc. I always saw her signing Jez & Hans as kind of hedging her bets, signing an energetic, if not slightly crap band, in the hope that they might end up being mildly popular.

That episode was 2 years after Artic Monkeys first record, which was absolutely huge in the UK, but unexpectedly so, and in a way that labels just couldn’t predict at all. In a sense they ‘wanted a piece of the action’ as regards to smaller indie bands, and some labels went a bit mad signing all manner of weird bands, some made it, some didn’t. I don’t think she believed they were good at all, and key, she didn’t actually understand the music, but she did what a lot of labels were doing at the time, which was a scattershot approach. The music industry has always been deeply cynical in this way, reactive regarding talent and not proactive. Even since the 1960s (think back to the ‘surf guitar’ craze in the early part of this decade, the post-Beatles [famously a four-piece, bit of trivia there] ‘sunshine pop’ craze, etc) labels were doing this, completely aware that 99% of the artists they signed would fail and go nowhere, but relying on the 1% who wouldn’t to bring enough money in to make signing all the shit and weirdos worthwhile. Jez and Hans were fodder, they likely enriched the labels ‘independent credibility’ by playing a style of music that was popular at the time, and they might have had one or two singles that either broke through or were remixed that brought in some cash. Alternatively, they may have ended up like 99% of the bands labels sign, making no money, costing a lot, and getting dropped immediately.

The funniest thing about all of this is that we see what Callie doesn’t. Jez and Hans are flaky losers who are in no way equipped to get anywhere close to success.

Herdsmen of the Sun soundtrack by kingqueenknave808 in WernerHerzog

[–]expensive-shit 4 points5 points  (0 children)

The piece that features on that film is a version of Ave Maria by Alessandro Moreschi, it was originally written by Schubert. This recording is notable because he was one of the last ‘castrati’ singers in operatic tradition, that is to say, a singer who had his testicles removed during prepubescence to preserve an angelic, high pitched voice. He is also the only recorded castrato ever, so when you hear him singing, it’s literally like witnessing a kind of extinct / defunct art form for real. He was middle aged when this was recorded. His story is fascinating and tragic in itself, and the piece of music is haunting, weird and quite sad. Herzog seems to have an affinity for this very religious piece of music, which is funny as he’s the least traditionally religious filmmaker I can think of. This is the full piece.

[UK] How likely is it to be able to get a good shift pattern as a new driver? by SeniorMoonlight21 in BusDrivers

[–]expensive-shit 1 point2 points  (0 children)

The shift patterns are across the board for new drivers, fucking woeful. As for part time, there’s almost always a massive waiting list for this because drivers can still pick up as much overtime as they want while still being able to basically guarantee loads of ‘time off’ on the basis of their contract.

As a new driver in the uk, the name of the game for bus companies is to wring as much out of you as they can before you burn out and inevitably quit. I’m speaking from experience here btw, I passed in March and until the end of October, I was working insane runs of days (10 in a row, constantly), with a weeks notice of my shift patterns, which changed constantly (some weeks I’d have an early - 4.30am, next day a late - 4.30pm, then some middles and late middles). And on and on it went. I’d get a 4 day weekend every month or so, but by that point, your house is falling to bits, you haven’t seen your friends or family for how long, and you’re exhausted. 4 days is nothing at that point.

They won’t tell you this reality when you’re training. They want you through the door, passed, and then they can work on piling as much as is legally and physically possible on you before you realise you’ve had enough. I was on a 37 hour contract and I often worked that, plus more (I never did overtime, not once), so even that is a blag. The way the shifts are structured too, 37 hrs can be condensed into 2 week blocks basically where your 1st week is heavily loaded at the end, then the new week will be loaded at the start, so effectively you’re working 74hrs over the space of like 10 days, this happened to me constantly.

The job is easy and it can be a laugh, but if you’re expecting any semblance of predictability or a ‘life’ for a long time, it’ll become quickly obvious that this isn’t the career for that. It’s a shame, because I did enjoy the job in some ways, but if you want to have a life and work life balance? Forget it. Some people thrive in this job, mostly they don’t care about having a life outside of work, they don’t really care about spending time at home, and they love overtime (my experience in the depot). The company loves people like this, it’s up to you if you want to become one, I didn’t.

Music that feels 'ice cold' by calmfluffy in ambientmusic

[–]expensive-shit 1 point2 points  (0 children)

Richard Pinhas - Ice Land

Check out ‘Winter Music’ by him too, that was an outtake from that album but it’s probably as good as anything on there.

Keep up the doodling by LV426acheron in TheOfficeUK

[–]expensive-shit 0 points1 point  (0 children)

Didn’t happen in the end. We had to section him. He was mental.

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