Category Archives: Rockall

Jimi Hendrix opening for the Monkees seemed like a good idea ... at least Micky Dolenz thought so.

The Monkees singerfirstsaw the future guitar legend playing in New York'sGreenwich Village. He was just known as this amazing guitar player that plays guitar with his teeth, Dolenz tells UCR. Thats how I remember him being introduced.

A year later, Dolenz came across Hendrix again, this time at the Monterey Pop Festival in June 1967. By this point, the Seattle-born guitarist hadteamed upwith bassist Noel Redding and drummer Mitch Mitchell as the Jimi Hendrix Experience. He was still playing guitar with his teeth, and as Dolenz noted in his autobiography, Ima Believer, he had graduated to setting it on fire as well.

He walks onstage and I recognized him, Dolenz recalls. I said, Hey, thats the guy that plays the guitar with his teeth! He blew everybody away, of course.

The incendiary performance at Monterey sparked an idea: The Jimi Hendrix Experience would be great tour matesfor the Monkees. I mentioned to our producers at the time - we were looking for an opening act for our first big world tour - and I said, How about these guys? Because they were very theatrical, he says. Lets face it, the Monkees were a theatrical act. I guess they liked the idea and we liked the idea, and there you go.

From the start, the pairing was weird, Dolenz admits, because Hendrix wasnt well-known at the time - not exactly hit with the groups audience of mostly 12-year-old little girls.

Despite the apparent mismatch, the members of the Monkees hit it off with Hendrix right away. Dolenz says he and Michael Nesmith"were absolutely entranced with him and his performance. He was a wonderful guy. He was very young, maybe only a year or two older than I was.

Hendrix packed away his wild stage persona when he wasn't performing, Dolenz recalls. "He was very quiet and shy - he was nothing like the character that he played onstage at all, he notes. Jimi was very quiet and shy, very streetwise, but a little naive about everything else, [including] the business.

In between shows, Dolenz says they spent a lot of time hanging out. Wed sit around the hotel room and play and stuff, but then things started to get pretty crazy." The fans were there to basically [just] see the headliner. You hear stories about that kind of thing all of the time.

But Hendrix was not just your ordinary opening act, as Dolenz wrote in his book. It was evident from the start that we were witness to a rare and phenomenal talent. Jimi was virtually the only act I ever made a point of getting to the hall early to see. I would stand in the wings and watch and listen in awe. I felt incredibly lucky just to have been there.

TheJimi Hendrix Experience and Monkees tour lasted forjust seven shows that launched on July 8, 1967, and flamed out soon afterward following three New York City dates. Jimi would amble out onto the stage, fire up the amps and break into Purple Haze, and the kids in the audience would instantly drown him out with, We want Daaavy [Jones], Dolenz recalled inI'm a Believer. God, was it embarrassing.

His limit reached, Hendrix allegedlygave the young audience at Forest Hills Tennis Stadium the finger as he leftthe stage at the close of his final performance opening for the Monkees. It wasn't long before he became one of the biggest artists of the era.

Im quite sure that Jimi Hendrix would have done very well with or without the Monkees," Dolenz says now. "But Id like to think that maybe it gave him a little bit of a leg up.

From the Allman Brothers to the Zombies, we take a chronological look at the decade's best LPs.

The rest is here:

Micky Dolenz Recalls the Monkees' 'Weird' Tour With Jimi Hendrix - Ultimate Classic Rock

Dr. Qvarnstrom initially thought the insects must have climbed aboard following defecation. But the researchers saw many different stages of chewed-up-ness, so to speak, from almost fully preserved bodies down to disembodied heads, wings and other parts, many from the same kind of boat-like, millimeter-and-a-half-long beetle.

The researchers determined that the new species and genus, Triamyxa coprolithica, belongs to an extinct and previously unidentified family in a lineage of small beetles, Myxophaga, that today tend to live around algal mats. According to the authors, this is the first insect species described in the fossilized feces of a vertebrate animal.

As for how some beetles made it through the animals gut without much damage, Dr. Qvarnstrom thinks there are a few possibilities. The beetles were tiny, and might have been accidentally sucked up en masse while congregating on a piece of algae eaten by a Silesaurus opolensis; they also seem to have been well-defended by their exoskeleton, like modern beetles. The ones who werent chewed up still probably died quickly, Dr. Qvarnstrom said. They didnt have to suffocate in the poop.

Beetles are probably the most diverse group of organisms on the planet, and learning more about their early evolution could help researchers understand why that is, said Martin Fikacek, a co-author and entomologist at National Sun Yat-sen University in Taiwan.

The Triassic Period, when this coprolite was produced, is kind of a black hole when it comes to our understanding of the insect fossil record, Dr. Heads said. A beetle of the Triassic age is really a significant discovery.

Learning more about the diets of these close dinosaur relatives, Dr. Qvarnstrom said, might also help researchers better understand how dinosaurs eventually became so ecologically dominant.

If we want to know more about the past, he said, I think its fairly important to get all the pieces of the puzzle.

Read more from the original source:

Over 200 Million Years Ago, Nature Called. It Was Full of Beetles. - The New York Times

Lanarkshire band Glass Raspberry has released its first single but members admit they're missing one thing.

Coronavirus restrictions mean the four-piece still haven't played a gig, and the group cannot wait to get onstage.

"It's been strange" admits their bassist Michael Farrell.

The Lanarkshire Live app is available to download now.

Get all the news from your area as well as features, entertainment, sport and the latest on Lanarkshires recovery from the coronavirus pandemic straight to your fingertips, 24/7.

The free download features the latest breaking news and exclusive stories, and allows you to customise your page to the sections that matter most to you.

Head to the App Store and never miss a beat in Lanarkshire - iOS - Android

"We formed the band at the end of 2019, and we were just starting to sort out some shows when the pandemic started and everything stopped.

"So we have only had the online reaction to our music and we've only had a few releases so far. We can't wait to play gigs."

The quartet are hoping to be onstage soon, having just released the tracks Walk With Me and Getaway on streaming platforms. Walk With Me's intense slice of indie rock, all propulsive guitar and ethereal vocals, is suitably anthemic, and an impressive way to introduce the band.

Michael and guitarist Paul Curran, who both hail from East Kilbride, had been aiming to kickstart Glass Raspberry for a while, but the group only clicked into place when they met Rebecca Burns, a Cambuslang singer who works as a teacher at Duncanrig Secondary in East Kilbride and who had never been in a band before.

She explained: "We met through friends, and they'd seen videos of me singing online. So I guess they headhunted me after that, which was cool. We met up and got on really well, and everything with the band just seemed to go really easily from there."

The group is completed by drummer Tamas Peto, and Michael believes the band benefits from having a mix of styles and interests.

He explained: "There's only really a couple of bands like Oasis that we all agree on. We all have really different interests and we bring that into the band.

"So Paul loves funk, Tamas is into heavy metal, I love bands like New Order, The Smiths and The Sex Pistols and Rebecca really likes soul singers. It's good for the band to mix it up."

The group have got more studio time booked for later this summer and are hoping to work on an album, while another two new songs are scheduled to come out next month.

More information on Glass Raspberry can be found here while Walk With Me and Getaway are available on platforms such as Spotify and Bandcamp now.

*Don't miss the latest headlines from around Lanarkshire. Sign up to our newsletters here.

And did you know Lanarkshire Live had its own app? Download yours for free here.

Original post:

Lanarkshire band Glass Raspberry showcases fruits of its labours with debut single - Daily Record

In The Know

Diana (@mrsblinks) is a self-described Pinterest Mom who loves sharing creative parenting activities and hacks on TikTok. She has 366.7K followers . One follower recently asked Diana to reveal how she braids bubble braids into her daughters hair, and Diana obliged. In the video, Diana explains that bubble braids are the perfect hairstyle for parents who havent quite mastered the art of braiding. To create the adorable braids, Diana begins by making two ponytails one above the other on the top right side of her daughters head. She takes the top ponytail, splits it in half, and feeds the bottom ponytail through. The process continues directly below the first two ponytails. Once Diana finishes the right side of her daughters head, she restarts the process on the left . The final hairstyle looks adorable, is easy to achieve, and helps keep the hair out of Dianas daughters face as she plays. Viewers jumped into the comments to express their gratitude for Dianas hair-styling tutorial

Read the rest here:

These Are the Best Silk Hair Scrunchies to Accessorize With This Summer - Yahoo Lifestyle

It stands to reason that, as one of the bands that helped pioneer and define it, Weezer are synonymous with the boom of bubbly and buoyant, ultra-melodic pop-rock of the late 90s and early 2000s. But while thats where the Californian quartets mainstream esteem may have peaked, its undoubtedly today that Weezers flame burns the brightest.

Since roaring back to life from their second hiatus with 2014s ripping and rousing Everythingt Will Be Alright In The End (on which they treated old-school fans to an onslaught of booming hooks and earwormish choruses), theyve struck gold with everything from doughy 60s-revering surf-rock (on 2016s White Album) to polarising avant-garde pop (on 2019s Black Album) and even tongue-in-cheek covers of yesteryears cheesiest FM hits (on 2019s Teal Album).

But as they near 30 years of their reign as the rightful kings of pop-rock, its become crystal clear that Weezer have, until now, only scratched the surface of their powerful and polychromatic potential. Even for a band as unpredictably quirky as them, nobody could have foreseen Weezers 2021 output: an introspective, orchestral-backed album of ballads and Broadwayesque showtunes, and a slamming, shred-heavy bombshell of 80s hair metal-channeling rock anthems the admirable efforts of a band that is truly unhinged.

And then theres Weezers 2022 slate because if two career-defining, critic-stunning albums isnt enough for one year, how about four? Starting shape as a mental exercise to keep frontman Rivers Cuomo sane as he trod along through last years pandemic-incited lockdown, the Seasons saga quickly blossomed into an ambitious four-disc epic, taking Weezer to a quadrant of very distinct, individually inspired corners of their musicality.

This is Weezers age of recklessness: theyre doing what they want to do, living their wildest musical dreams and embracing the most whimsical corners of their imaginations all with absolute creative authority. As he gears up for one of the biggest and busiest chapters of the Weezer story, we caught up with Rivers to vibe on Van Weezer and OK Human, what we can all look forward to from the Seasons project, and everything else going on with one of rocks most idiosyncratic characters.

Were only halfway through 2021, and its already been one of the biggest years in Weezers history. Whats the vibe like on your end?Well, I just get so absorbed in whatever Im doing that I kind of forget about everything else. So I could answer a lot of about the Fall album right now Im probably going to struggle on Van Weezer [laughs]. It doesnt exactly feel hectic, but theres just so much material thank goodness for modern technology and spreadsheets. I dont know how people did it before they had technology to help them keep track of everything.

Some of the stuff on Van Weezer goes back to the days before this band even existed, right?Yeah. I dont care when something was written or what its from, I just want the best possible bits; I just want to put it all together and make a great song. It doesnt matter where any of it came from. Im pretty agnostic about that stuff a lot of times, I forget when something was even written. I just go searching through my Dropbox folders and go, Okay, I need a great verse, give me a great verse Okay, heres a great verse! And Ill get to a point where I realise, Oh wait, that was from, like, 25 years ago!

Whats the method to the madness when it comes to how you save, collate and draw from your stable of ideas?Ultimately its just what feels right, but I do have tools that help me narrow down the field. I just made this really cool app called Demolisher its this big panel with all these switches I can flip, and itll search through all my thousands of demos to give me exactly what Im looking for. Depending on which switches are flipped, it will give me, like, only choruses that start on the one chord in major key, between 120 and 130 beats per minute, and that are a particular genre and then Ill be faced with ten options instead of 1,000. And then its just a matter of trying them all out and seeing which ones feel the best for a song.

And you developed the app yourself?Yeah! I love all of that stuff! Thats half the fun right there. I got into computer programming in 2015, and I spend hours on it every day. I just love it. But even before that I had spreadsheets, and before spreadsheets there were notebooks and graph paper. Im just always trying to keep track of everything.

How many albums worth of viable song ideas would you say you have?I dont know I guess the time-consuming part is putting them all together, that would be the limiting factor to figuring that out. Theres a lot of pieces in there. Obviously I have my phone with me wherever I go, and several times a day an idea will pop into my head and Ill record it in a note, and then it automatically gets uploaded to Dropbox, and then there are scripts that go in there and analyse tempo and put other tags on it, and then its easy to filter and sort.

I like that youll sometimes use the fans as a sounding board, like via your forum Mr. Rivers Neighbourhood.Yeah, its really great! I just love their tastes so much theyre so similar to my own tastes, and they share a lot of my core values. So sometimes when Im working on something, if Ive gotten distracted or confused by other forces around me, I can see what the fans reactions will be and go, Oh yeah, thats what I like! [Laughs].

Lets riff on Van Weezer pun intended. Where did the idea for this record come from? Have you always had a soft spot for 80s hair metal?Yeah! I mean, thats what I grew up on. I never wouldve called it hair metal at the time, though, it was just metal heavy metal. Thats what real music was to me when I was a teenager. Thats how I learned to play my instrument, by learning how to play heavy metal songs. But right around the time Weezer got together, just about all the musicians in LA did an about face we all went from being metalheads to alternative guys, so we changed our guitar sound, we cut our hair, and we made our first album. But all those heavy metal instincts are still in there, in our souls and in our fingers, and theyve just been waiting to come out all these years.

So why was now the right point in time for that to happen? I know the initial rollout plan was very closely tied to the Hella Mega Tour was it a bit of a chicken and egg scenario?Yeah, thats exactly right. We actually were working on OK Human first, and wed mostly finished working on that, but just as we were wrapping that one up our manager called and said, You guys got booked on the Hella Mega Tour with Green Day and Fall Out Boy. Its going to be Monsters Of Rock all over again, youre going to be shredding stadiums all around the world. And we were like, Uh oh! We just made this introspective singer-songwriter album with pianos and an orchestra! Thats like the worst kind of album you could put out before a tour like that. So we put OK Human on the shelf and said, Alright, I guess its time to unleash the beast! Because yknow, if were going to go out every night and have to compete with Green Day, weve gotta bring some serious rock riffage.

I read on a forum that Van Weezer went through some changes after it got delayed. Is there any truth to that?I guess the change was just that as we were finishing up on Van Weezer, the Hella Mega Tour got postponed because of the whole lockdown situation, and we realised that Van Weezer was the worst type of album we could put out during a quarantine. We couldnt even be in the same room together, let alone go out and promote a rock album. So we put Van Weezer on the shelf and focussed our attention back on OK Human. I dont remember going back and making any significant changes to Van Weezer, though do you remember what you heard?

I think the big thing was that some of the tracklisting got changed around.Yeah, I mean, Im gonna tweak up until Well, even til after the album is on shelves. But it was nothing major taking an old song off, putting a new song on, that kind of thing.

Do you think theres potential for Van Weezer to not just be a one-and-done sort of concept?Yeah. I mean, were very responsive to the people in front of us every night when were playing. We want to get that applause, so whatever people are responding to, thats what were going to gravitate towards.

What guitars were you jamming on in the studio for this record?Well the album is called Van Weezer, so obviously everyone is going to focus on the Van part when were talking about it because thats the new thing, thats the interesting thing but really, half of it is still classic Weezer. So in the spirit of that first part, I did try out a couple of crazy 80s guitars, but it seemed to be overdoing the schtick a little bit. So I just ended up going back to the same guitar Ive always used, since the Blue Album, which was Ric Ocaseks late-50s Les Paul Special. Thats the meat of the record right there.

What is it about that LP Special thats made it your ride-or-die?Well, I never use it at a show, because its actually kind of delicate. But something about my right hand and my pick crunching into those strings, on that guitar with that pickup, jamming a powerchord through an overdriven amp It just sounds like music. Its an unmistakable sound. Its thick, but its punchy at the same time.

Are you much of a pedal-head as well?Not at all. In fact, going back to our first album, I dont think theres a single effect on anything. Sometimes people will go, Oh, were doing The Sweater Song, its got that cool, clean riff lets put a flanger on it, lets put some chorus, lets do this and that But its like, no, you dont need any of that. Its already built into the riff, just play the riff!

Do you find that going straight into an amp helps you capture that raw, authentic Weezer energy?Yeah. The spirit is in the notes. Its not so much about the sound of them, I just want to get the notes across to the listeners ears.

Which I suppose is how OK Human works so well as a Weezer album despite there not being a single riff on it. Where did the idea for that record come from?The idea originally came from the producer, Jake Sinclair. I went over to his house one day, and I wasnt expecting to start a project I was going over to say hi, but he said, Oh, Ive got an idea for your next album. You should do something like Nilsson Sings Newman, this obscure album from the early 70s. He gave me a copy of it and said, The jist of this is you sitting down at a piano no guitars and write totally personal, non-commercial, weird, quirky, Rivers/Weezer songs; then well back you up with a full orchestra instead of distorted guitars. And I was like, Woah, that sounds like a lot of fun! I wasnt used to writing on a piano, so it was a real new experience for me.

Did that songwriting process take you very far out of your comfort zone?It was pretty darn comfortable, actually. It was incredibly fun! I love classical music, I love Beethoven and Bach and all of that stuff. Im a total amateur, but I love trying to explore that side of music composition. So I wouldnt say I was creatively out of my comfort zone at all but technically speaking, for sure. I had to practise quite a bit. We recently played a concert with the LA Philharmonic Orchestra at Disney Hall, and I practised for three weeks straight every single day, practise, practise, practise so I wouldnt make a fool out of myself in front of these amazing musicians.

What was it like working with an orchestra for the record?Sadly, I had no contact with them. Because yknow, mid-pandemic and all, if youre not absolutely required to be there, you cant be there. But I would pop in on Zoom and check it out, and it was an incredible thrill. Id never heard my music played by an orchestra before, and I was just blown away. I had a lot of the basic ideas for their arrangements, but I had just pumped them out on a piano. To hear them all played back by a full orchestra Its such a thrill.

The lyrical themes on OK Human feel so timely. Did the concept for the record grow as it came together?Yeah. There actually wasnt an intended concept to begin with it was more just like, Write whatever youre going through on any given day. Just whatever happens to be troubling you. And dont write for anybody else. So thats just what I did, so I guess it ends up sounding a bit like a day in the life of Rivers in the middle of a pandemic.

Do you think theres potential for an OK Human tour with an orchestra behind you?I sure would love to do an orchestral tour! But it seems so incredibly expensive theres just no way we could pull it off, unfortunately. But hopefully well come up with something. At the bare minimum, maybe just a few special concerts like the one we just did at Disney Hall. Maybe we could do one in Sydney at the Opera House. That would be amazing!

Have you thought about how some of the back catalogue might translate to an orchestral setting?At the concert we just did, we did OK Human in full and an additional six songs, and we got the same arranger and conductor to rework those songs for the orchestra. I played an acoustic guitar and Pat [Wilson] was still on the drums, but it was basically like OK Human versions of classic Weezer songs And a Toto song [laughs]. I havent heard the concert back yet, but to be standing in the midst of an orchestra, hearing Island In The Sun It was so beautiful.

Speaking of what youve got coming up in the pipeline, are there any plans to celebrate the 25th anniversary of Pinkerton this year?It hasnt been discussed not yet, at least. I did recently uncover a song from 1995 which was written right around the same time as El Scorcho. Its a song I never demoed I never recorded it, but I had it written down, and I only just recently made a demo of it. Right now its slated to come out on the Winter album in December of 2022, but maybe we could put it out later this year as a little gift for the fans in celebration of Pinkertons anniversary. And maybe well do some Pinkerton shows later in the year its all up to the pandemic.

When I was growing up, my exposure to Weezer was through songs like Island In The Sun, Buddy Holly, Beverly Hills those really catchy, or for lack of a better word, safe kind of songs. So when I got around to hearing Pinkerton, it was so unexpectedly rough and angsty and evidently it was the same for people in 99, hot on the heels of the Blue Album. Was that part of the intention, to really dismantle what people knew of and expected from Weezer?I dont think we intended to be unsuccessful [laughs]. I think we all thought it was going to be a huge record, honestly. But like a lot of the other bands around that time, we were a little uncomfortable with the sound of our first record. Thats not exactly who we were when we were playing in the clubs. We were much rougher and more aggressive we werent meant to be this polished, major label alt-rock band. So we kind of swung back the other way and produced the next record ourselves, and that was a lot more true to what we thought Weezer was supposed to be.

Youve done that a few times since throughout the Weezer timeline, to varying degrees of success whether thats making a pop record like Raditude or going really experimental on the Black Album, or working with a 38-piece orchestra on OK Human. Do you see a value in subverting fan expectations every so often?Not really. Its basically me just wanting to try something I just get excited to try new things. Im not really thinking about how the fans are going to react.

Theres not a balance you have to strike between passion projects like OK Human and fan-service projects like Everything Will Be Alright In The End?Everything Will Be Alright In The End was definitely a case of us saying, Hey, what if we made an album just for the straight-up hardcore fans? But I guess as the years go by, nothing seems to really matter anymore. We can do whatever we want, and it doesnt really change the course of this giant ship that is Weezer its just going to sail on into the distance.

I think Weezer is one of the few bands that can truly do whatever the f*** it wants and get away with it, because thats just the core ethos of Weezer.I mean, its not like that for other bands?

To a degree? Most bands dont have fanbases that expect the unexpected in the way your average Weezer fan would.Sure. I guess AC/DC is the big counter example, right? You pretty much know exactly what youre going to get from a new AC/DC album. It would be really trippy if they just totally changed it up and dropped a pop album.

Imagine if AC/DC did a record like OK Human.I mean, Id check it out! An introspective piano-orchestral album with their style of vocals on top? That would be wild.

What can you tell us about the Seasons project youre working on right now?I actually just finished doing some stuff for the Fall album. There are four albums in the series, and each one is based on the season its named after. Each record has a predominant emotion that I have in mind as Im writing. Spring is on the happy, chill side, and Summer is indignant, youthful rebellion. Fall would be anxiety, and then Winter is sadness and loss. In terms of the sound, Spring is kind of like Island In The Sun, and Summer is kind of like a crunchy Beach Boys I guess a bit like the Blue Album. Fall is the most risky direction of all thats going to be dance-rock, like Franz Ferdinand. And then Winter is all 90s singer-songwriter, a bit like Elliot Smith.

So will that be the next project to surface after Van Weezer?Itll start on the first day of Spring 2022, when the first album comes out. Im excited for people to hear it!

Is all your creative energy focussed on Seasons, or are you still tinkering away on other bits and pieces?I have a few other projects which are just starting to pick up steam, but they involve other collaborators and forms of media, so its a very slow process Im just waiting for my role to kick in. So Ive given myself this four-album project to tide me over. Theres some kind of musical drama that Im working on at the moment called Buddha Superstar. I dont know if its going to be a Broadway show or a movie, but apparently thats going to be, like, a five-year process.

Continue reading here:

Weezers Rivers Cuomo: Like a lot of the other bands around that time, we were a little uncomfortable with the sound of our first album... - Guitar...

Acute upper gastrointestinal bleeding (UGIB) is a gastroenterological emergency with a mortality of 6%-13%.[1] Despite changes in management, mortality has not significantly improved over a period of 50 years.[2] Bleeding from the upper gastrointestinal tract (GIT) is about four times as common as bleeding from the lower GIT. It is important to identify patients with a low probability of re-bleeding from patients with a high probability of re-bleeding. The size of the bleeding vessel is important in prognosis. Visible vessels are usually between 0.3 mm and 1.8 mm. Large bleeding vessels cause faster blood loss. Generally, larger vessels are found deeper in the submucosa and serosa and more specifically high in the lesser curve of the stomach and postero-inferiorly in the duodenal bulb.

Endoscopy does not reveal a cause in approximately 20% of patients presenting with apparent acute UGIB. The most common causes are peptic ulcer and oesophago-gastric varices.[3]

Rare causes include:

The incidence of acute UGIB in the UK ranges between 84-172 per 100,000 per year, causing 50-70,000 hospital admissions per year.[2]

An ageing population with associated conditions and a worse prognosis has helped maintain constant mortality figures despite advances in treatment. Mortality is about 7% in patients admitted because of bleeding but some three times higher amongst those developing UGIB whilst in hospital.[3] Peptic ulcer disease is the most common cause of UGIB. Risk factors for peptic ulcer disease are:

Although duodenal ulcers are more common than gastric ulcers, both contribute nearly equally to the incidence of UGIB. After an initial bleed the risk factors for re-bleeding, with associated higher mortality, are:

Bleeding severity can be assessed by:[4]

Initial assessment may provide an indication of the cause of UGIB:

The main aim of examination is to assess blood loss and look for signs of shock. A secondary aim is to look for signs of underlying disease and significant comorbid conditions - for example:

Endoscopy is the primary diagnostic investigation in patients with acute UGIB:[2]

Consider for admission and early endoscopy (and calculation of full Rockall score) if:

Other significant comorbidity (especially cardiac disease, malignancy) should also lower the threshold for admission.

Shocked patients should receive prompt volume replacement. It has been demonstrated that early and aggressive resuscitation reduces mortality in UGIB.[5]

Proton pump inhibitors (PPIs) should not be used prior to diagnosis by endoscopy in patients presenting with acute UGIB.[3]

Recommendations emphasise early risk stratification, using validated prognostic scales, and early endoscopy (within 24 hours).[8] The following formal risk assessment scores are recommended by the National Institute for Health and Care Excellence (NICE) for all patients with acute UGIB:[2]

The Blatchford risk assessment is designed to be used pre-endoscopy (see the full NICE Guideline for details).[2]Scores are added using the level of urea, haemoglobin, systolic blood pressure, pulse rate, presentation with melaena, presentation with syncope, hepatic disease and cardiac failure. A score of 0 is the cut-off with any patient scoring >0 being at risk of requiring an intervention.

The Scottish Intercollegiate Guidelines Network (SIGN) guideline on the management of acute upper and lower gastrointestinal bleeding recommends that an initial (pre-endoscopic) Rockall score be calculated for all patients presenting with acute UGIB. In patients with an initial Rockall score >0, endoscopy is recommended for a full assessment of bleeding risk.[3]

Adapted with permission from BMJ Publishing Group Limited. Original tables in Rockall TA, Logan RF, Devlin HB, et al; Risk assessment after acute upper gastrointestinal haemorrhage. Gut. 1996 Mar; 38(3):316-21. 1996 BMJ Publishing Group Limited.

Endoscopy is now the method of choice for controlling active peptic-ulcer related UGIB.[10]Endoscopic therapy should only be delivered to actively bleeding lesions, non-bleeding visible vessels and, when technically possible, to ulcers with an adherent blood clot. Black or red spots or a clean ulcer base with oozing do not merit endoscopic intervention since these lesions have an excellent prognosis without intervention.[3]

Adrenaline (epinephrine) should not be used as monotherapy for the endoscopic treatment of non-variceal UGIB. For the endoscopic treatment of non-variceal UGIB, one of the following should be used:

Acid-suppression drugs (PPIs or H2-receptor antagonists) should not be offered before endoscopy to patients with suspected non-variceal UGIB. PPIs should be offered to patients with non-variceal UGIB and stigmata of recent haemorrhage shown at endoscopy.

Surgical intervention is required when endoscopic techniques fail or are contra-indicated. Clinical judgement is required and consideration given to local expertise.

Helicobacter pylori eradication - see separate Helicobacter Pylori article:

The complications of UGIB are self-evident. Other complications can arise from treatments administered - for example:

Elderly patients and people with chronic medical conditions withstand acute UGIB less well and have a higher risk of death.[2] Mortality is about 7% in patients admitted with an UGIB. It is as high as 26% in patients who develop bleeding whilst in hospital having been admitted for another cause.[3] A score of less than 3 using the Rockall Score system above is associated with an excellent prognosis, whereas a score of 8 or above is associated with high mortality.[9]

Factors which affect the risk of death include:

Mortality is reported to be lower in specialist units, possibly because of adherence to protocols rather than because of technical advances. The prognosis in liver disease relates significantly to the severity of the liver disease rather than to the magnitude of the haemorrhage.

Read the original:

Upper Gastrointestinal Bleeding (UGIB Bleeding) Rockall ...

WHEN SPEAKING TO fishers about why they were concerned about the proposed Brexit trade deal, about why they dont see a viable future for their industry, a flurry of various figures are usually cited to explain the decline in their industry in recent years.

A lot of figures are given as to why theyre struggling to survive, and various species of fish might be mentioned all of which can be hard to get your head around.

So heres a rundown of those figures, fishers concerns, and the post-Brexit trade deal quotas that are driving them to march on the Taoiseachs Cork office and the Dil in recent weeks, mostly based off a Seafood Sector Task Force interim report that was released last week.

This is how much the Irish seafood economy is estimated to be worth. There are around 16,400 people employed by the industry, which includes ancillary services like production, people who service fishing boats, and net producers.

Brd Iascaigh Mhara, Irelands seafood development agency, says that 400 million is generated through domestic consumption, and 263 through exports and imports.

There are 2,030 fishing vessels registered in Ireland as of 2020. France (115m), the United Kingdom (93m) and Spain (53m) are the top export areas for Irish seafood.

Quotas are complicated, so lets explain all this out:

This is to give stocks a chance to replenish and to ensure overfishing doesnt happen. Some fishers say it is easy to overfish now, because quotas are so low and they are struggling to make the same living they did before.

Quotas are different from, but are usually based on, the maximum sustainable yield (MSY) for a species of fish, which is an ecological estimation of what proportion of fish can be caught to ensure stocks are not depleted to unsustainable levels.

Stock caught above this level are classed as overfished.

It should be noted that fishers have said because quotas keep increasing, and because they are so low for certain species, it is easy to go over the line, and overfish.

In the Brexit trade deal agreed between the EU and the UK, the EU wanted to return 15-18% of the value of fish quota caught in UK waters, and the UK wanted 35%.

Instead, both settled on 25% the value of fish quotas on a five-year phased basis.

In practice, this meant that 199 million worth of EU-wide quotas will be transferred back to the UK,with Ireland contributing around 43 million of that total a drop of 26,412 tonnes of fish, representing 15% in Irelands national fishing quota.

Source: Seafood Taskforce interim report

Fish worth an annual average of 650 million had been caught by EU fishing fleets in British waters.

As our sister publication Noteworthy reported, Ireland has a system of giving the quota to those that catch the fish first, which gives an advantage to bigger vessels with greater resources.

A2019 European Commission reportcompiled a database of the entire EU fleet register and found that most Irish vessels are owned by individual Irish fishers, with only about 3.5% of the fleet registered to a foreign owner or foreign-registered company.

The top eight quota owners share 28% of the national quota between them, with the Atlantic Dawn Company topping the table, at over 7% of the total quota.

There are many small fishing vessels in Ireland that are out-financed and disadvantaged by Irelands first-come first-served system of awarding quotas, and who may be more likely to use hand-based practices that may be a more sustainable way of fishing.

Fish quotas are broken down based on the species of fish, and on where they live:

For shellfish, around 1,500 inshore vessels which target mostly non-quota shellfish will not be directly impacted by quota transfers, as they have only minimal catches of quotas.

Two thirds of the losses sustained by the fleet in 2021 will be incurred by the Refrigerated Seawater (RSW) segment of the fleet, which mostly fish for pelagic species.

Those post-Brexit deal losses are as follows:

Other fishing catches arealso affected, but to a lesser extent than the above group:

This estimated losses for whitefish trawlers assumes access will be given to the 12-mile limit around Rockall, which the Irish Government is currently in dispute with the UK Government over.

If access was lost permanently, the report states that the total squid fishery valued at around 6.6m (based on 2019 landings) and up to 60% of the total Rockall haddock quota, valued 1m (based on 2020 Irish quota), could potentially be lost.

This would not only impact on the 9 of these 12 vessels that fish at Rockall but also an additional 16 vessels, mostly Nephrops freezer vessels that target squid seasonally. When factoring in catches of other species monk, megrim, ling, saithe caught inside 12 miles from Rockall, the total impact of the loss of these fisheries is estimated at 7.7m.

Fishers have requested as part of their seven demands that the traditional fishing grounds at Rockall be reinstated to something similar to the 2019 arrangement.

One of the major recommendations from the Task Forces interim report is that a one-month long voluntary temporary cessation scheme be offered to 220 whitefish vessels impacted by the quota reductions, in the period from September to December.

#Open journalism No news is bad news Support The Journal

Your contributions will help us continue to deliver the stories that are important to you

12% of EU waters

The Department of Agriculture and Marine said that before Breixt, Irelands Exclusive Economic Zone (EEZ) made up 10% of the EUs EEZ and the UKs EEZ made up 17%.

After Brexit, Irish waters now make up 12% of EU waters, the Department said.

The Governments Seafood Sector Task Force was set up to examine the implications for the Irish fishing industry and coastal communities following the Brexit trade deal.

Its membership includes representatives of the fishers production organisations, small fishers groups, fishers cooperatives, and dars na Gaeltachta. The taskforce is lead by barrister and former Bord Bia CEO Aidan Cotter.

With reporting from Maria Delaney.

Read the original post:

Quotas cut by 15%, and a 1 billion industry on the brink: The confusing figures fuelling fishers' anger - TheJournal.ie

PUMA and brand ambassador Lauren Londons highly anticipated capsule, Forever Stronger, is finally here. Rooted in authenticity, the collection is inspired by London and her hometown of Los Angeles. Given how personal this collection is, ESSENCE was happy to have had a chance to sit down with London and discuss the process, her definition of strength, and how staying firm in what you believe in is just enough.

With this being the first collection, originality and most important, intentionality was a must. When speaking of the brand, London praised them for their partnership and their ability to let her express her creativity freely. Puma was really amazing to work with, she says. Its a very respectful work environment. They allow me to be myself and they give me the creative freedom to do what I want. They feel like more of a family than a business partnershipI just love them.

Effortless is an adjective wed use to describe Londons aesthetic, especially highlighting her personal style. We asked the Without Remorse star how would she define her wardrobe, and comfort was the first word that came to mind. Featuring three pieces: a T-shirt, a hoodie and a classic black and white PUMA suede sneaker with Forever Stronger prominently embroidered in script, the entire collection is a reflection of casual. Most important, the hoodie and tee feature a tiny blue heart, a special representation of Nipsey Hussle, that serves as a reminder of where London came from and where shes going. The purpose of such a prominent detail does not go unnoticed and speaks to the type of designer London is. She explains: I like for the clothes to work for me in any moment. I spent years in uncomfortable clothing thinking I had to because of the industry I was in, Ihadto do that. As time went on I realized I didnt need to and my style just evolved.

And while shes ditched the unnecessary pieces, London made sure the things that matter most, like her love for Los Angeles, was properly portrayed. When I think of L.A. fashion I think about growing up, going to the Slauson swap meet, buying gold, buying bamboo earrings, buying a track suit and long fly nails with a good French tip. I still rock all of that to this day.

After eyeing the pieces of the capsule, ESSENCE was curious to know which one had Laurens heart. Out of the three pieces my favorite is actually the sneakers, she says. Even though Im a hoodie girl. To make the drop even more special, were being introduced to fat laces again, a return that is long overdue. London gushed about the throwback feature, stating, Growing up I used to wear the fat laces, and these sneakers are kind of like an ode to that, she shares. Every box comes with a pair of sneakers and with the fat laces. And if youre worried about durability, that shouldnt be a problem at all. I wear these sneakers everywhere, London says. I just love how comfortable they are.

That emphasis placed on creating a line that lasts parallels the fortitude of London herself. Often modeled as a pillar of strength, and known for her resilience and inventiveness, the actress and mother of three still understands the importance of softness, assuring us theres strength in cryingespecially as Black women. You dont always have to be super strong, she says. Its okay to say, Today is not my day, and thats still being strong, right? Today, Im just not feeling it. And theres power in saying and doing that. I want more people to realize acknowledging youre not having a good day or moment is still an act of strength.

All things considered, genuine is undoubtedly a word that could be used when describing the effort behind this collections name and overall purpose. When people wear any item from Forever Stronger, I want them to know its an embodiment of me, she says. I want them to instantly feel empowered. Whether you rock the hoodie yourself or admire it from afar, the brand-new capsule has cemented itself as not only stylish but also captivating.

Releasing today, June 25, the collection will be on PUMA.com, at the PUMA NYC Flagship store, The Marathon Clothing Store, Shoe Palace, Champs, Foot Locker and more with retail prices ranging from $30$75.

TOPICS: fashion Lauren London Nipsey Hussle PUMA

Link:

Forever Stronger: Lauren Londons First Puma Capsule Is Finally Here - Essence

Alan Bishop of underground avant-garde rock legends Sun City Girls is reflecting on Eddy Detroit, the longtime friend he lost to suicide on June 15.

"Eddy was his own scene," Bishop says when asked what made the willfully eccentric folk-punk icon stand out on the local scene.

"He was like a comedian or an actor creating his own realities and he truly understood what many never realize that unless you are a dreamer, you went absolutely nowhere in this world."

Detroit went many places in this world, whether busking on the streets of London, where he moved in the late '60s, drumming for the Church of Satan while livingin Hollywood or reading tarot cards by phone through the Psychic Friends Network, famously hostedby Dionne Warwick.

Born Edward Michael Dunn in 1952, Detroit, whose stage name is a tribute to his hometown, had been living in Phoenix since the spring of 1981.

It was in the course of recruiting musicians for 1982's "Immortal God's,"a debut album of exotica-tinged psychedelic folk, that the outsider artist met Bishop, one of several luminaries from the local underground to appear on the album.

"A friend suggested we meet up," Bishop recalls. "He saw my Tyrannosaurus Rex albums sitting in front of a speaker and we hit it off immediately."

Bishop would've worked with anyone who was unique.

"At the beginning of the '80s, the only 'progressive'music was independent or underground," Bishop says.

"So when you found someone who wasnt buying all the over-produced (expletive), well, you gravitated towards them."

A talented percussionist whose aesthetic was heavily influenced by Martin Denny and '60s exotica, Detroit was known to join Sun City Girls on stage and in the studio, appearing on several of their more than 50 albums.

The day Detroit died, Sun City Girls posted a video on Facebook, filmed in 1983,of Detroit in his element, leading his friends in an unhinged, shambolic performance of "Beelzeebub," the opening track on his first album, that at times suggests a manpossessed by Yoko Ono.

It's beyond electrifying, far more punkish and chaotic than the version on the album.

"Eddy was someone I always rooted for," Bishop says.

"He had an obsessive sincerity that ran through all his songs and his lifestyle. He never stopped believing in what he did and was always excited by a new project, usually seeing them to completion. Ill miss his crazy humor, his observations, and his stubbornness to remain off the grid."

Remembering a folk-punk legend: Andy Warpigs 'was Phoenix DIY music'

Michael Pistrui of Fat Gray Cat, another Valley band that often benefited from Detroit's percussion skills, refers to 1982's "Immortal God's" as "literally an Arizona punk-rock all-star record."

In addition to Bishop, it features the talents of Charlie Gocher ofSun City Girls, Dan Clark of the Feederz and Victory Acres, and Mary Clark, alsoof Victory Acres.

"He was part of the Mad Gardens scene," Pistrui says, referring the legendary Phoenix punk performance space that shared a name with New York City's Madison Square Garden.

"Tony (Victor of Placebo Records) said that Eddy just showed up one night and said that he was half man and half goat and wanted to play his bongos. So Tony started letting him play between the bands. He started playing with the Poet's Corners guys that did kind of a jazz punk-rock thing. And then he started playing with Sun City Girls."

Another Phoenix punk legend: Remembering Steve Davis

Cris Kirkwood of the Meat Puppets thinks of Detroit as a pivotal memberof the early '80s Arizona music scene.

"He called himself Eddy Detroit," Kirkwood says.

"But he really seemed to fit in with a certain kind of crusty Phoenix underground vibe that I thought Mighty Sphincter kind of embodied and us and Sun City Girls, this sort of feel that Phoenix managed to spark at a particular point."

At the same time, he says, with a laugh, Detroit was "his own unique creature."

Kirkwood points to how freely and enthusiastically Detroit would talk about his foot fetish and other points of interest people tend to downplay in casual conversation.

"You gotta love someone who's that open to break that ground of it's OK to be who you are," Kirkwoodsays. "He was just kind of fearless. That's why his albums are sought after to the degree that they are by people who like that sort of thing."

Remembering Tommy Connell: Phoenix guitarist remembered as 'one of the best' by longtime bandmate Jon Rauhouse

Kirkwood was thrilled to have an opportunity to make a record with Detroit a few years back when he produced an album by a band called Moonlight Magic, a Phoenix-based lounge actdoing instrumental '60s-style exotica, bossa nova, samba and lounge music.

By then, Detroit had done a series of exotica-themed local bands Banana Boat, the Tropical Island, Mondo Exotica and the Garden.

"What a fun record to make," he says of "Phoenixotica," an album released in 2018.

"This is part of what punk rock is, right? Just that grab bag of 'If I say it's art, it is.'"

Ruth Wilson and Jaime Paul Lamb of Moonlight Magic both say there would be no Moonlight Magic if it weren't for their desire to build a band around Detroit.

"He was such a stellar drummer in that arena," Wilson says, "with bossa novas andthose Latin beats. He was the master."

He was trained in jazz, playingtraditional grip, although his first band, in Detroit, was a rock 'n' roll cover band calledthe Premieres.

"I don't think he could even hold the sticks like your typical rock bonehead just clubbing away at the drums as hard as he can," Lamb says.

"Eddy was a realdrummer, and I mean a trap set drummer, but he was also an amazing hand percussionist. Just an incredible, incredible musician."

So incredible, in fact, that when he parted ways with Moonlight Magic, Wilson figured that might be the end for that whole project.

"I thought, 'How are you gonna find a drummer to replace Eddy Detroit?" she says.

A Phoenix guitar hero: 'Right out the gate, he had the touch': Remembering Joey Trujillo

A lot of times, when someone dies, Lamb says, you'll hear a lot of talk about how that particular person was "one in a million" or words to that effect.

"ButEddy was a one-off," Lamb says."And he sort of represents a cycle that's now ended. He hadso much of that midcentury, kind of quirky, schmaltzy, kitschy exotica thing about him, but he also had this dark Velvet Underground underbelly to his thing."

You could hear that combination play out in the songs he wrote.

"The lyrics just exemplify the love of seediness he had under that 'Leave it to Beaver' veneer," Lamb says, pointing to his shared love of that wholesome family sitcom on the one hand and less wholesome B-movies like "Trip with the Teacher" and "The Ultimate Degenerate" on the other.

"He was deeply divided because he wasthis very pure, kind of naive midcentury guy, a real child of the '50s, whosort of embracedthis kind of juvenile delinquent culture. So he had this seedy beatnik side."

Being a productof midcentury culture made it difficult at times for him to feel at home in the 21st century.

"This world is not a world for Eddy Detroit," Lamb says.

"He hated computers. He had a dumb phone. Didn't know how to text or write an email. I think he was just too visceral for that.I mean, I think he half-heartedly tried to keep a foot in the Modern World. But unsuccessfully."

In recent years, Detroit was playing in the jazz trio Escargot Jazz.

And through it all, he kept performing and occasionally making records as Eddy Detroit.

His latest album, released in 2016, was "Shock-A-Lock-A-Lickum," a compilation ofrecordings made from 1979 to 2010.

The press materials accompanying the release said the songs "run the gamut of Detroit's musical landscape, from the UK acid-folk ofTyrannosaurus RexandThe Incredible String Bandthrough bongo-fueled satanic calypso to his new phase as a troubadour recounting tales of hobos, whores, and one-eyed jacks from the old west."

Lamb accompanied Detroit when he toured Europein support of that release and got to see him treated like a rock star, including a performance at the U.K. TUSK Festival.

"When you see an Eddy Detroit show in Phoenix, there are like five people there a couple punkers from Mad Gardens and whatever barflies just happen to be there," Lamb says.

"When we went to Europe, we played to enraptured arthouse venues. There were a bazillion people there, and many of them knew his entire catalogue, even words to tunes, if you can believe that. And Paris. We killed it in Paris."

Detroit, who was billed on a lot of the posters for that tour as 'US Tiki weirdo outsider,'was elated.

"He came back from that tourand he was on top of the world," Lamb says.

"That trip really made him feel loved and feel as though his work has had some sort of impact.So that wasa good way for him to sort of end his run in a lot of ways."

After that, he went back to what Lamb refers to as "workaday gigs" with his jazz comboand Moonlight Magic,doing an Eddy Detroit gig here and there.

"But there was nothing like that European tour," Lamb says. "He was so just really blown away with the response that he got over there."

About a week before his death, Detroit seemed really down about his health in his last conversation with Lamb. He'd been struggling with acute insomnia, chronic depression and diverticulitis.

"The only thing he was excited about in that phone call was he just picked up an old Les Baxter record that he didn't have before," Lamb recalls. "The exotica bandleader. Yeah. All of a sudden, he was back to old Eddy for a couple minutes."

A memorial held at a Knights of Columbus hall in Glendale on June 21 was packed with members of the local musicscene.

"It was so Eddy Detroit," Pistruisays.

"Hehad a unique way of living and breathing in all sorts of different musical circles. There were people there from the folk musicscene that play in parks and little coffee houses. There were people from the jazz side of things. There were punk rockers there. Bam Bam was there from JFA."

Lamb says theGin Blossoms mentioned him during their halftime performance at the Phoenix Suns game on Tuesday night.

"It doesn't take too much digging to know that Eddy was iconic here, despite hanging on a long time and being sort of low-key throughout on a simmer," Lamb says. "There was some true desert-fried originality in there."

He even ran his own performance space here in the '90s, a coffee house that lasted five years called the Grotto.

He was alsosomething of a raconteur, retelling stories of hisrun-ins with the rich and famous as a drummer for the Church of Satan when he lived in Hollywood around the same time he was playing all the legendary L.A. punk clubs as part of the Permanent Wave Band.

"He was just so full of stories," Wilson says. "And a lot of times, you'd heard these stories before, but he just insisted on telling them again and again. That was just Eddy."

There was the story of how he was there to witnessIggy Pop's first gig when Pop was still James Osterberg and drummingfora band called the Iguanas. Or he'd talk about joiningthe White Panther Party withthe MC5 and John Sinclair.

He even had a story about dropping off a demo tape at Apple Records just as Ringo Starr was finding out his band had broken up.

"Eddy liked to talk," Pistrui says.

"And a lot of people would be like, 'Yeah, right.' Then all of a sudden, there's a picture of Iggy Pop and there's Eddy in the picture."

Detroit was thrilled to find himself the subject of a Phoenix New Times cover story last year, Bishop says, seeing the cover treatment as a validation of his legacy.

"But all the crazy stories and wild times he experienced shouldnt cloud the fact that he wrote so many great songs, was a master percussionist and kept reinventing himself, learned to play the mandolin, continued his craft of performing and songwriting," Bishop says.

"And perhaps most importantly, he had the gift of being able to entertain or command attention without a prop, without an instrument, without electricity or a gimmick to fall back on as security. He was a real storyteller in a world where a vast majority pretend to be."

Reach the reporter at ed.masley@arizonarepublic.com or 602-444-4495. Follow him on Twitter @EdMasley.

Support local journalism. Subscribe to azcentral.com today.

Read more:

'Eddy was his own scene': A pivotal member of the Phoenix underground remembered - The Arizona Republic

Pete Kilpatrick7:30 p.m. Friday. Camden Opera House, 29 Elm St., $10. camdenoperahouse.comSinger-songwriter Pete Kilpatrick streamed shows from his home for 66 consecutive weeks during the pandemic. Heres a chance to see him in the flesh on the Camden Opera House stage. His latest album is the acoustic Back Roads, released this year. If youd still rather watch from home, just head to the Camden Opera House Facebook page for the livestream.

GoldenOak with Oshima Brothers7 p.m. Friday. Outdoors at Narrow Gauge Cinema, 123 Narrow Gauge Square, Farmington, $15 to $80. eventbrite.comIndie-folk and Americana act GoldenOak, fronted by siblings Zak and Lena Kendall, celebrate the release of their new album Room to Grow with an outdoor show. Speaking of siblings, the opening set will be from folk-pop duo Oshima Brothers comprised of Sean and Jamie Oshima. Bring your own low-back lawn chairs or folding camp-style chairs and blankets and be ready for a fabulous night in Farmington from a pair of stellar Maine bands.

Bill Kirchen6 p.m. Saturday. Lennys at Hawkes Plaza, 1274 Bridgton Road, Westbrook, $15 in advance, $20 day of show. Call for tickets (207) 591-0117. On Facebook.Commander Cody and His Lost Planet Airmen is a country rock band that released its debut album 50 years ago. Singer and guitarist Bill Kirchen is one of the founding members, and hell be accompanied by Jay Peterson for a show at Lennys. Peterson is a guitarist and sign artist whose credits include the 30-foot mural of Maine musical icons Lenny Breau and Dick Curlesson the wall at Lennys. Opening the show is rockabilly trio Memphis Lightning featuring guest Sean Mencher. The show kicks off with a brief talk led by Peter Guralnich, author of the new book Looking to Get Lost: Adventures in Music and Writing.

Invalid username/password.

Please check your email to confirm and complete your registration.

Use the form below to reset your password. When you've submitted your account email, we will send an email with a reset code.

Previous

Next

Read more here:

Live Music Lineup: Folk, rock, Americana and country rock all weekend long - Press Herald