What happens if your spouse does not want intimacy? The key to having real intimacy in a relationship is to have a deep connection with your spouse. So that means not just in a physical way, but in an emotional way. If you don't have that emotional intimacy, you can't expect to be able to have the physical intimacy. So thinking about what's going on in your day-to-day life, what type of connection that you're having, what type of love are you showing your spouse throughout the day so that when it comes to being more physical that you see that there's more of a connection there. So that's something to be aware of. Also it's important to be able to have a discussion about it, what your feelings are about it, in a safe and connected way so that you can both open up and understand what might be bothering you, what might be getting in the way. So it's not something that's just going to be easily, you know, easily fixed because one of you wants or doesn't want. It's something that has to be thought out as something that has to be examined to understand, to become conscious about what's really going on in the relationship as a whole because what's going on in the bedroom is really a barometer of the relationship as a whole. So obviously sometimes there's some physical issues or traumas that need to be dealt with. But if everything was going fine until now and now it's not, we need to address what are some of the underlying issues that may have changed and might be making it not feel so comfortable to be together. If you have any questions and would like to discuss your individual situation with us, please feel free to be in touch and we'll be happy to help you.


We are proud to be supporting Welsh food and drink this St. David's Day. Happy St. David's Day from everyone here at Morrison's Wales. Carrie Humphrey, Carrie Blast, love Wales, love taste.


I had some technical difficulties earlier, but I'm back. So yeah, I'm Emily. I'm here to talk about ditching the grid system. I'm an engineer at Algolia, where San Francisco start up. So it's a long flight here. My Twitter is right there, so if you disagree with me, feel free to send me a disparaging tweet. That'd be really awesome. So I'm here today to talk about something I'm super, super excited about. I know most of you probably messed around with it before, but Flexbox. I feel like for a long time now, we've come in focusing on one certain way of layouting things. It's been pretty rigid, and I'm really excited to sort of rethink everything and sort of shift our paradigms, and then will allow us to, in the end, have a little bit more flexibility with how we're layouting. OK, so before I really dive into it, I want to talk about where we've been. So back in the Dark Ages, this is what websites used to look like. Basically, tables were our only method of really laying elements out on the page.  Like there, you're done. But then things got a little bit better for us. CSS became a thing. That's why we're all here, which is awesome. And as part of that CSS spec, there was this thing called floats, right? You had an image, you see it's a boat, it's floating. No, OK. So you had an image, and you floated it, and then the text floated around it. And that was great, and it was meant to emulate print design. But then everybody said, hey, maybe we can use this for layouting. And it worked pretty well, actually. So most of you probably recognize this grid. It's pretty standard, like 12 column bootstrap foundation insert framework here, sort of latched onto this idea of a grid. So you have cells that are in rows, and they're all floated, and then that row is cleared. And it's actually, when you think about it, pretty similar tables. It's definitely a step up, but it's still very much focused on your pre-defining the width of your elements. It's not content focused. It's, again, just width focused. So yes, it's responsive, and allows you to do this thing when clients are like, what's responsive? And you're like, it does that pretty well. But overall, you still have to know a lot about the content that's going to be in there. So if you have a CMS, and your CMS user is like, I'm just going to put in a bunch more copy here and add this thing. And then they're like, why does the page look like this? Because of this. So we can do better. And the awesome thing is that Flexbox is going to help us. And obviously, there's other cool things. Like CSS Grades is an awesome thing a lot of people have already talked about. But Flexbox is here. It's now. And it's really going to help us out. So how many people have played around with Flexbox thus far? Awesome. Cool. That's really exciting. How many people have used it in production? Awesome. OK, cool. I was worried this next slide was going to be really controversial, but that's really exciting here. So global support is at 96.92%. There's that weird yellow 13% color. And that represents IE and prefixing and weird stuff. But this is CSS. Things can be kind of weird. But that's a pretty big number. And that's really exciting. The times now, we can start using in production. Don't be scared. Don't be like, but what about my A9 users? No, no. Just come on. OK.  What is so exciting about this? So I actually grabbed this sentence from the spec, so full disclosure. Flexbox is an efficient way to align and distribute space for dynamic items in a container along an access. I know it's a lot of words in a short period of time. So I really want to reiterate this because this is so important. It's about dynamic items. That means items that have a content-based width. And you take those items, and you align them to each other, and you distribute the space between them.  It's so different. But it's awesome because it is that different. And it really opens up a lot more possibilities. So I know a lot of you raised your hands to playing on Flexbox. But I did want to give just a quick overview of some of those who aren't so comfortable with it. So a lot of Flexbox is it's about the container, right? So you apply display flex on a container, and any of the direct children are automatically going to get a flex context. And one of the great things is you can do a lot of the layout in you need to do just on the container. So you no longer have to worry about the children elements. It's all about aligning the items and distributing the space on the container. So again, just a little background. So Flexbox is all about accesses, as I mentioned. There's the main access, which by default is the x-axis. And then there's the cross-axis, which is by default the y-axis. And you can flip these accesses using flex directions. So you can say, call them if you want to flip them around. You can also do reverse and all those things, sort of reorder things, which is great. And you can also set the flex wrap. And as I mentioned, again, it's all about aligning and distributing. So we have the justify content. And you can justify the content along the main access. Again, that's that default x-axis. And you can start at the beginning. You can start at the end. You can do space between. You can do space around. Also, these are some of the best name properties, because it literally puts space around things. That's so straightforward. And you can center things. And when you align things, you line them on the cross-axis. Again, this is about aligning items with each other. So you can center items, start at the end, baseline. But one of the really, really cool things is stretch. So the default value of aligned items is stretch. And what this means is out of the box, you're going to get equal height columns, which is amazing, like how long you'll be waiting for that. So that's really great. So I just want to show a really quick component. So this is pretty standard. Like most people recognize, like logo on the left, navigation on the right, and they're aligned to each other. And all this takes is three lines of CSS on the container only. So right, you're going to display flex. You're going to justify the content to be space between. So that basically means take the left thing and stick it over here, take the right thing and stick it over here. And then you're going to align them to be centered to each other, which is a pretty different shift from the old way of doing it. So the old way, you'd have the row that was cleared. And then the logo would be floated, and the navigation would be floated, and there'd be some sort of weird magical number you created to add a top margin to it, or something like that. And again, like in this case, you're very focused on the children elements, whereas the flex box, you're more focused on the container. And again, no magic numbers.  Whereas in the old case, the margin would only be centered and weird things would happen. So there's also some children properties that can help you do a lot of great things. So flex grow basically sets the element size, relative to its siblings. The default value for this is zero. Often what you're going to find yourself doing is setting this self to one, but depends on the use case. And then flex basics sets the initial main size. This is sort of like a width, but not really, the default value of this is auto. And that's really awesome, because what that means is the default width is going to be its content. Okay, so what does this mean for us? So back to that sort of example of like the logo on the left and you know, some stuff on the right. So again, we set the, to be displaced flex, we justify the content to have space between it and we line the items to each other. So what about this like this search field container over here? I wanted to make it so that as CMS users added more links that this search of input would continue to grow. I also wanted to make sure that if anybody ever changed this, the size of this icon or the padding on this, that these, that the search icon and the input would have the same height. So fortunately, that's really, really easy to do a flex box. You just add display flex on the search field container and right away out of that box, you have that default aligned item stretch, which means that they're going to be the same height. Then all we need to do is add one line flex grow one onto this search input and it will continue to grow to fill the remaining space. So again, pretty straightforward and nothing should look too crazy here. But what about when we move into other component types? So here's this grid that we were talking about before. What if we boil this down to really all we're looking for is equal with columns, right? We don't really care about like one, one, one, one or two, two, two. All we want is we say on the container, we said something that then says, hey, we want everything, all the children to be equal with. So I have this container class display flex and then on the immediate children, we've set flex grow one, right? Because we want them to be equal. So the relative size of each other is going to be one. And then flex basis to zero. And that's basically saying like, hey, go ahead and shrink as much as you need to shrink. I don't care about your content. So I have this really contrived example to show everybody what that looks like. I've got like, I obviously did not put much effort into the design of this, but we've got three columns and they're all equal height and they're all equal width and we've got our cat in here and everything looks pretty good, depending on how you see things. So what about when we want to add some margins, right? So things are getting a little bit more complicated here. So we've got some margins and left and the right. And then we're making sure that for the first child and for the last child, we've reset that margin to zero. So that's going to look like this. So it's looking a little bit better like things are a little bit more spaced out. Everything's still equal height and equal width. Okay, what about mobile? Let's make sure that when things get down to mobile size, they aren't getting squished. So like, right in this particular case. Oh, I don't know how to de-squish this. So in this case, if you were to shrink it, everything would continue to squish like this, right? But we want to make sure that at a certain point on mobile, things stack because that's pretty standard, right? That's sort of the grid concept of like things decrease on width and then they start stacking. So what we do is we add in a media query and what we're going to do is change the flex direction to column on mobile. So that means rather than that main access being the x-axis, we're going to change the main access to be the y-axis. And then we're going to do a little bit of resetting. So we're going to make sure that the flex basis is reset to auto so that things aren't stacking. And then we're going to add our additional margin. And so if you were to shrink this, you would see that they would start to stack. Okay, so now you're probably like, that was a huge chunk of code. Like what are you talking about? That was a lot. Why would I keep writing this? It seems like we're kind of back where we started and things are not looking good. That's a good point. Okay, so let's put things into SAS and see how we can get ourselves back into a place where it's pretty straightforward. So what I've done is I've created a mix and can everybody see this? Is this sort of like readable maybe? Yeah? Okay. So anyway, so we've created a mix in called foxbox equal column and we've inserted a couple parameters here. So in this case, I have a 20 pixel parameter. I've created a parameter for the white space. I've created a parameter for the element name and I've created a parameter for that column break point. This is actually pretty much the same code of what we just wrote. It's just been parameterized. So in this case, you'll see that the padding is now half of what that padding value is. So we no longer have to think about that. And here is that same logic. So if a column break point has been set, then we're gonna have that media query. So again, this is really the same as what we just wrote. We just made it a little bit more flexible and a little bit more reusable for ourselves. So what does this mean? So we can use other possible parameters. This isn't, it's not necessarily just oh, just padding or just media query size. Potentially, you can use a Boolean flag to set if you wanted to reverse things. You could add a column break point padding. Really, the sky's your limit. The key takeaway from this is it's time to start identifying component patterns. So recognize that at a container level, I want the children to interact with each other in a certain way. And there's gonna be common underlying structural logic between components of certain types. So we wanna identify that logic and then refactor that into a mixin. And then with that mixin, we'll create a few parameters that'll make it easy for us to simply plug and play, again, at the container level. So now the main takeaway here is creating a responsive equal width, equal height column at the container level is now reduced to a one liner. All we have to do is call our mixin, input the padding we want, input where we want that break points, and we're good to go. We don't have to think about, you know, like, okay, what about this and what about this? We're just done. And that's that other logic. It can be reused for additional components. It is worthy to note, though, that we should find the middle ground here. So each mixin should focus on reoccurring, differing use cases within a component type. But if you're getting to a point where your mixin has like 20 parameters and like a million nested if loops and you're like, what is going on and it just becomes a black box, that's probably a sign of a problem. You wanna make it so that it's gonna be consistently able to be reused, but not to a point where somebody else who comes into the code base is gonna be like, what is this gobbledygook? So in all things, moderation. So I wanted to walk through a few component types that I've identified and that I've sort of created this set of mixins for that have proved to appear again and again in certain template types. So one particular component type that most people should recognize is a fixed width section on the left and then a section on the right that's meant to take up the remaining space. So as the user resizes the screen, the left section, that filter section is gonna maintain its width, whereas the right section is gonna shrink. We do this because we wanna ensure there's always enough space for the filters. So right in the older system, we would have done something like call three, call nine and then as things shrunk, the filters would have shrunk and then maybe they would have started to get cut off and that wouldn't have been the greatest user experience. So we're gonna create another mixin. This one I'm calling two column fixed and what we're gonna do is we have a couple parameters here. One of the parameters is gonna be the fixed column and then the other parameter is gonna be that fixed columns width. So here's what the code for that mixin would look like. So we have the fixed column. If it's left, we're gonna set the flex basis to be that fixed column width on the first child and if it's the right, we're gonna set the flex grow to be one and the flex basis to zero, right so that other element is gonna take up the remaining space and we'll flip that logic for the last child. So pretty straightforward. The cool thing is though, that then once I get to a point where I'm like, hey, I recognize this component type, all you have to do is have one liner and you're done. So another one is two columns, one with a content based width and another one with the other one taking up all the space. So in this case, I'm saying, hey, this image is really important, like I want this to always be the size of the image and the remaining content should fill up any remaining space. So again, we've created a mixin, two column flexible, where the parameters are the fixed column, again, a left or a right and then the padding and this looks super similar to the other mixins we wrote. You might notice there is some overlapping of logic here but pretty straightforward. So there's also another one of two columns. They're both percentage based width. That's another one I've noticed a lot. So we create, again, the pattern is arising here. We're creating a mixin for it called two column fluid. We're inputting the first column width and then the padding. So what this means is that on the first child, we're setting that first column width and then on the last child, we're doing 100% minus the first column width and then setting the margins appropriately. Another one is a grid. This is a pretty standard, it's three columns and it's gonna start wrapping and the cool thing about this, right, is that if we didn't have that last Alice over there, it would just stop. There wouldn't be a weird Rio Grande wouldn't take up their main space, it just stops, which is what we want. So we've created a flexbox grid and in this case, we're going to input the number of columns we want. So in here, we have the column number and then I've also added a Boolean flag called reverse. So what we do is once we input it, we can set the flex wrap to wrap reversely. So this is a case where we might have, oh, okay, the markups mean one way, but we want to reverse this. Again, this is just another example of a parameter you might want to set to make things a little bit easier for you. And then that element, we're gonna set the flex basis on it to be 100% divided by the column number. Okay, so what about, you're like, okay, this is great, but it seems like we're putting a lot of stuff inside Mixins that maybe we don't need to, maybe this is too abstract, and what's the point of this? So I found myself doing a lot of copying and pasting and that's why I started to extract this. So I wanted to give it like a more complicated example to show how this might be a little bit more useful in your day to day. So this is a case of we have a larger component and I was putting up thinking about it into, so there's this sort of main section, we've got the professional, the data, the plan sponsor sort of call outs, and then we have this sort of column stack section for academic and for non-member. And there's a few things we wanna make sure happen here. So we wanna make sure that the academic and non-member that always take up all the space next to the other columns. We don't want there to be like weird space between them or like them to not appropriately align. We wanna make sure that happens. We also wanna make sure that these on the left are all equal columns. And finally, we wanna make sure that the buttons stay at the bottom, no matter how much content has been entered inside of these other buckets. So this would be something again that'd be pretty difficult to achieve with floats. Both Foxbox, it's actually really straightforward. So on the outer container, we've decided that this section should be 75% and the other remaining section should be 25%. So all we've had to do is using this mixin that we've created, set the first column width to be 75% and then set the pattern between them. And what that's gonna give us is right away that's a sort of main layout of a box over here and a box over here that's 75 to 25%. Not that exciting yet. Okay, so what about the left column? So the left column right we said we wanted to make sure that these were all equal widths and equal heights. So all we need to do now that we've created this mixin is include that Foxbox equal column mixin. It might include padding depending on our needs but it's really straightforward. So finally that right column as I mentioned we wanna make sure that both the callouts are flush against the other buckets. So in this case we set it to be display flex and we set the flex direction to be column and then we make sure that all the children are gonna fill their remaining space again by using flex grow one. So that's gonna give us right away in very few lines a pretty decent layout that pretty much matches the spec we need. The final thing that I mentioned is we wanted to make sure right that the copy at the top was always at the top and despite differing copy all the buttons aligned at the bottom. So what we're gonna have to do is for these particular items is set display flex and then change the flex direction to be column and then again we're gonna use that justify content to give us some space between so we're gonna have things falling at top and things falling to the bottom. Okay, so what's the main takeaway here? Again, flex box it's all about it's about content based with it's about dynamism, it's about not forcing things to be within sort of like a rigid structure that you've created, it's about letting things take up the content with they're gonna take up. So see elements as more dynamic and then align and distribute them on the container level focus as much as you can on that container because it's gonna keep your code a little bit drier. And finally for reoccurring structural logic so a lot of times if you have a lot of logic related to like padding or children properties it might make sense to create a seismics in for that. Pull out that stuff that you find yourself continuously copying and pasting and create something that can just be one liner for when you see those component types that appear and reappear. So finally utilize those parameters to handle all those varying use cases within that particular component type. Thanks. That's great. Love flex box, love me some flex in. Are you using flex box? Here's the question for any layout things beyond components are you just using it for components? So right now I've been using flex box for everything in production. Obviously when when grid comes around it'll make more sense to use that for the outer wrapper and then more for components. But right now I truly think the flex box is our best bet when it comes to layouting. That's cool. We do that in some sections of our site too.  You're like, oh I can reorder this easily and yay, also sticky footer. Yeah, oh yeah. So have you been playing with any grid stuff as well? Like experimenting with it even though it's behind flags or just sticking to flex? No, definitely. I definitely think there's gonna be like a lot of value there and it's super cool and it's awesome to sort of stay on top of all that stuff for sure. But unfortunately browsers are a thing so it limits us to what can be done in production. Is there anything that still trips you up about flex box even though you've used it? I sometimes still have the CSS tricks, everything you need about flex. I'm like oh, sometimes I forget which ones these are. Yeah, I definitely think mostly like IE10, I'll open it up and all. Like there'd be something related to heights and I'm like what is even going on? This doesn't match anything that should be happening and then like on a blood boot and refresh and page turns and yeah, exactly. I love the repo flex bugs by Philip Walton. Do you, are you aware of it? So good, saves my life all the time when I deal with any cross browser. I'm like what is this? You've answered my question, thanks. Yeah, exactly. Yeah, cool, well that was our flex talk. So thanks everyone. Thank you, Emily.


There baby, look at that. Pink worm number one. Oh my, Alan's hooked up again. God, we pretty fish.  What's going on guys, welcome to another video. Thank you guys so much for the support on the latest videos. I got my boy Alan with me today and we're doing a, what are we doing Alan? We're doing a pink versus white fishing challenge. So we're about, see we got Walmart in the background right here.  We're gonna go out there and try to catch some fish with him. I don't know, this is gonna be a cool video. I just thought it would be neat. I wanted to do a cheap versus expensive but honestly I don't know which one to do next. So that's why I need your help in the comment section below. So be sure to comment below on which cheap versus expensive one you would like to see next or tiny versus small or any fishing challenge in general. But also pepper that like button up because this one's gonna be juicy. Let's get this started. Just made it inside of Walmart. Now we gotta look at the pink versus white lures and just kind of see what they have. So as you guys can tell they have all the soft plastics right here but pretty much the only pink and white ones that they have is either the trick worm or they got the super flukes. So they got a pink pack of the super flukes, a white pack of the super flukes, a white pack of the trick worms and a pink pack of the old trick worms. So Alan, what do you think man? That's what we're gonna have to go with, right? I guess. I mean that's the only thing they got. So instead of just going with the worms I think I'm gonna get these as well. I think we're gonna catch a majority on this but we're gonna do this just so it's more of a challenge rather than just doing one lure like that versus that. We're gonna do all of these. So we're gonna get one pack of these. One pack of these. One pack of these. One pack of these. This is what we're working with. We got the white, the zoom trick worms, the bubblegum, the zoom trick worms, the white flukes and the bubblegum flukes. This one's gonna be never throwing anything like that.  We just made it to where we're going. I'm gonna warn you guys right now before we even get out there. As you guys can tell by my hair it's pretty windy out here and I'm sorry about that. I'm hoping it doesn't mess up the audio too bad. We're gonna go out there. I'm gonna try my best to cover it up to make sure the wind's not killing it but it is pretty windy. So hopefully we can find some spots to where it's not too bad so you guys can hear. Here's Alan Bob. If you guys want to follow him on Instagram I'll pop up his little thing. Yep, exactly. Alan got it. And he's got his little poles right here. We're gonna be putting, he's already got a fluk on. Did you have that on before? Or did you put on the new ones? I had it on. Boys, girls. Boys, there's the girls. Oh gosh, you have nothing to say. So he's got the white fluk.  I guess, yeah. We'll do the white. All right.   You do the white and I'll do the pink. We'll just try it. But I gotta rig these up. I gotta throw a pink fluk, pink worm on the whole drop shot. We're gonna do that. All right Alan, so here you go. I'm gonna get, or I got these. All right, you got the pink. So I do wanna ask you one thing. What do you think's gonna win today? Out of all these, like, I don't know if both the pink's gonna win. Like, do you think one or? I think this one. You think the white worm?  I don't know why it's gonna do it.    I don't see, I don't know.  I don't know, I guess we'll see. We're gonna put them on. We're gonna try. What we're gonna end up doing is we're gonna be switching ponds that we're gonna be going to. So the two that we're gonna start off with I think we're just gonna be catching them on a drop shot. So that's what we're gonna do and in the next pond we go to that's when we'll bring out the fluk's. But for right now we're just gonna bring the drop shots of these two first ponds and then we'll switch out later on. All right, everyone. I got the pink old trick worm drop shot. He's got the white one. I actually have mine weedless. He has his just nose hook. So I guess this is his first cast. We're gonna see what happens. There'd be some over here out on the picture. Like next to me. Small. He's a small one. Did he grab? He came off. Gosh. Okay. I can't say that's fish number one, but we got some action. Yeah, that went in and pushed. Oh, Mark. You see him? Look. God. Well. Freaking awesome right there, baby. Look at that. Pink worm number one. First fish of the day. Caught it right there. That is a beautiful one. That is not a bad fish at all. Solid two, two and a quarter. Beautiful bass. First fish of the day, baby. On the old bubblegum worm. Let's get a release on him. Pretty guy. Let's go dude. Don't think I had like a four for a second there. When he was running, like he looked huge in the water. Running with it. Alan, what in the world dude? I guess it counts. Alan, what do you got to say about that fish dude? Look at it. That is crazy. That is one of the smallest bass ever. I guess it counts though. It counts. It's the first fish on the white, the white little worm. Fish number one. We got one for both, I guess. Even though that's a minute for the other one. Oh. The GoPro wasn't on. You guys just missed probably the best catch ever. I cannot believe I didn't get that on camera. I walked up and I saw him. Literally right when I walked up and I pitched in there and he just took off and pulled my drag. Beautiful little bass right there. But that's two on the pink worm. All right. Second baby bass on the pink worm. That kind of like right there. Oh my gosh. It's small. Or actually, it ain't bad. There we go. Alan's probably about to get slammed. I just feel it. It's not the biggest fish, but Alan's got one. Is he big? Oh, dude, that's freaking sweet. Nah, I was about to grab the camera. About the same size as this one. All right, well, third fish. Alan almost had a second, but gosh. Pretty little bass. Alan's got him one. Second fish. There we go. He ain't bad. I can tell you one thing. They're not like the biggest fish, but they're pretty healthy. Alan's about to go in. Good job, bro. Second fish. There you go. Second one on the white. Yeah. I'll say that is not a carp. That is a mega bass. Here we go, dude. Look at that fish. See how dark he is? Colors on this bass. This is insane. Look at that guys. Got the greens and the blues. That's a dark fish right there. I can tell you one thing. These things aren't too big at all, but they're just healthy. Like they're thick fish. That is a nice bass right there. Let's get them back in the water. This thing is huge for him. Another dark fish. It's like the same colors as the last one. Look at his eye. On the old pink worm. Look at that. They're just eating that thing, guys. That is awesome right there. What a beautiful fish. I swear this is the twin fish I've clearly just caught. Same colors, same size. That's crazy. Oh my gosh. He ate it when I was reeling it. Dude, I was literally reeling it in and he ate it. That's insane. That's crazy. Little guy. I was literally reeling the drop shot in and he just started chomping on it. He's got little bellies on him. Alrighty, so it's time to go to the next pond. We just fished this first two. We did pretty good. I don't even, I kind of lost count. We caught a lot. So far the pink worm's doing a little bit better. Yeah. I don't know.  I've caught a lot of good fish on it. I guess that's why I'm kind of biased towards the pink worm. I don't know. I've caught a lot of good fish on that thing. When I'm usually throwing a pink bubblegum worm, I'm usually throwing it weightless. You know, that's how I usually throw it.  But man, it's killing it right now. And the white's still catching them. You know, I didn't expect the white to do horrible, but I just feel like they're eating the bubblegum better. And then again, I think the quality is just a tad bit better, but I don't know yet because this next one, I kind of determined that. There's a lot of small ones in here, but then again, I've had a buddy catch a monster out of here, like a straight 10. And then we're gonna be throwing these flukes and see what we can do because we have not thrown the flukes yet. And I think we're gonna get a good bit of bites on them. It's super windy. And I don't know, I think we might end up tearing them up on the whole fluke, but the worm is just, the drop shot's so fun to throw. It's so hard to put it down. Let's just go ahead and get out there. All right, Alan. So show me what you got going, dude. I'm gonna be throwing the white fluke. You're gonna catch them on that. I don't know.  The pink fluke, I'm very confident in the pink worm, but I just do not know about the pink fluke. This one's gonna be hard, but with this wind whipping, I don't know, hopefully we'll catch some. Oh no, man, the wind just looks so good. We might end up smashing them on it. Oh, dude, did he come off? How big was he? What? Yeah, he looked kind of chunky. He's just about jerking out of your hand. Godly. Dude, he hammered that thing. Oh my gosh. Look at that, baby, on the pink fluke. Dude, I'm so mind blown by this pink right now. I thought the worm was gonna do it, but then again, Alan just got a bite, so I think they're gonna start eating this. This wind right now, this fluke. Gosh, it looks good. Nothing big, but thick and chunky fish. Dude, let's go, bro. First fish on the old fluke. All right, pink fluke going down. I'm gonna try cast out there with the old dry line.  I don't know what's going on, dude. I just, literally like five in a row. And I just lost like a two pounder, we would have to double. But Alan got him one on the old white worm. Oh, trick shot, man, good job. Golly, dude, why does he feel so big? Tell me, these fish just feel so giant. I've never seen anything like it. See how small he was and how big he seemed when I hooked him. He just hammered this thing. That's the second one on the pink fluke. Alan's throwing the white one right now, he still hasn't. I don't know, man. I guess it's just pink today. I don't know, it might be. All right, everybody, Alan's got it. Is that your first one? Yeah, that's the first one. Dude, what did he do? Did he just like, you like popped it out of the water and he hammered it all the way out. That's insane. That's awesome, dude. That's the smallest fish ever, too. I don't get it. It's just crazy. I got him in the head, literally. Oh my God. Dude, I never moved it. I watched him eat it at the top of the water. That was crazy. Next cast. I like threw it there and I just was about to click my reel and he just came up and just smacked it. Next cast, guys, on the pink fluke. Did you see that? What in the world? Look at that, baby. Choked that pink fluke right there. That is awesome. That's a pretty fish. It's not a bad one at all. Same thing as the other, just threw it out there. I want to hit the water, you just see him. Eat that thing. Oh, pretty bass on the pink fluke. Let's go, dude. Let's go. Look at that bass right there on the pink fluke. This is insane. It's just insane, guys. Pink fluke is killing, I can't explain it, Alan. I don't know. I think you caught the pink fluke with it, didn't you? Yeah. I don't know, man. Pretty fish.  Alan's hooked up again. Freaking awesome, dude. This is insane. It's like the same cast over in this corner. They're just tearing up the fluke. I guess the white one catches them, too. The white one's getting them, too, man. Look at that, baby. Pink fluke is just wrecking it. I thought he was so much bigger, dude.  He looked like a solid three to four.  Pick fish for sure. Pretty one. You just cannot beat that, guys. When you catch them like that, you can just win on that fluke. Cannot beat that. Hope you guys are enjoying this channel. We actually just made it back to the truck because we're gonna have to call it a day now. One thing I would like to say is I'm sorry about the wind always. I haven't got the look of the footage, obviously, but I'm just praying that it's not too bad. But Alan, what do you think about the white, the white versus the pink? Like, what was your favorite, or what do you think was the best? All right, which one do you think was the best today? We'll leave it at that. Honestly, I think the pink. Pink fluke? Pink fluke killed it. The white one caught on pretty good, too, but I think it's a different color that really pulled the fish. Yeah. Out in that little dirty water. Yeah, it was kind of crazy. Like, my, pretty much what I thought from the beginning was, you know, I caught a lot of fish on a bubblegum pink worm. I knew it was gonna catch them good. I usually only throw a weightless, but I already had a drop shot on. He had a drop shot on. We're like, you know what? Let's just throw a drop shot. And I know they'll bite it out here, so. And it caught on pretty good. It caught on better than the white. That's what I was expecting. But when the pink was going against the pearl or the regular white with the fluke, I really didn't think the pink was gonna beat it. Like, I really didn't, but it seems like it did. It seemed like I had a lot more bites. It was like, when it was in the right area, like, then again, I was gonna think, you know, maybe it was the right area, the right time, you know, you're moving it the right way. But with how many bites we had, like comparing the two, I feel like I had a lot more on this one. Not only that, they were committing to it a lot better. They weren't short-struck in it.  Like, this is a bubblegum color. This is a really bright, weird color. But when you put it in that muddy water, in that kind of dirty water, it really, it doesn't look like that. You know, it kind of looks more natural. So that's why I think it did the best. And I think they committed to it a lot better. And it caught a lot of fish. But overall, if you guys enjoyed this pink versus white fishing challenge, you need to pepper. I mean, pepper people. Pepper that like button up. Also leave a comment below on what challenge you guys would like to see next. If you guys want to see another cheap versus expensive or like a tiny versus big, let me know which ones. And me and my boy, Alan, or I'll take Adam or Chaston or whoever else out. And we'll go film a video of that. But thank you guys so much for the support. Leave your suggestions below. Also click the little red subscribe button. And then next to it's the little bell. Thank you guys so much for the support. Catch you guys in the next video. That's good. I got skylight by the man. I crack cars in hella dance. I got a bra from the motherland. I got shooters wins. I get it, get it up anyway. Bro's love's curtain in the heavy can. I crack cars, cook everyday. I get money up everyday.


Nirvana was an American rock band formed by singer and guitarist Kurt Cobain and bassist Chris Novoselic in Aberdeen, Washington, in 1987. Nirvana went through a succession of drummers, the longest lasting being Dave Grawl, who joined the band in 1990. Despite releasing only three full-length studio albums in their seven-year career, Nirvana has come to be regarded as one of the most influential and important alternative bands in history. Though the band dissolved in 1994 after the suicide of frontman Kurt Cobain, their music continues to maintain a popular following and to inspire and influence modern rock and roll culture. In the late 1980s, Nirvana established itself as part of the Seattle grunge scene, releasing its first album, Bleach, for the independent record label Sub Pop in 1989. The band eventually came to develop a sound that relied on dynamic contrasts, often between quiet verses and loud, heavy choruses. After signing to major label DGC Records, Nirvana found unexpected success with Smells Like Teen Spirit, the first single from the band's second album Nevermind, 1991. Nirvana's sudden success widely popularized alternative rock as a whole, and the band's frontman Cobain found himself referred to in the media as the Spokesman of a Generation, with Nirvana being considered the flagship band of Generation X. In response, Nirvana's third studio album, in utero, 1993, released to critical acclaim, featured an abrasive, less mainstream sound and challenged the group's audience. Nirvana's active career ended following the death of Cobain in 1994, but various posthumous releases have been issued since, overseen by Novo Selic, Grawl and Cobain's widow Courtney Love. Since its debut, the band has sold over 25 million records in the United States alone, and over 75 million records worldwide, making them one of the best-selling bands of all time. Nirvana was inducted into the Rock and Roll Hall of Fame in 2014, in its first year of eligibility. HISTORY Formation in early years, 1987-1988. Cobain and Novo Selic met while attending Aberdeen High, although they never connected, according to Cobain. The pair eventually became friends while frequenting the practice space of the Melvins. Cobain wanted to form a band with Novo Selic, but Novo Selic did not respond to his requests, which included giving him a demo tape of his project Fecal Matter. Three years after the two first met, Novo Selic notified Cobain that he had finally listened to the Fecal Matter demo Cobain had given him and suggested they start a group. The pair recruited Bob McFadden on drums, but after a month the project fell apart. In early 1987, Cobain and Novo Selic recruited drummer Aaron Berkherd. The three practiced material from Cobain's Fecal Matter tape but started writing new material soon after forming. During its initial months, the band went through a series of names, starting with Skid Rowan including Pen Cap Chew, Bliss, and Ted Ed Fred. The group finally settled on Nirvana, which Cobain said was chosen because �I wanted a name that was kind of beautiful or nice and pretty instead of a mean, raunchy punk name like the angry Samoans.� With Novo Selic and Cobain having moved to Tacoma and Olympia, Washington, respectively, the two temporarily lost contact with Berkherd. The pair instead practiced with Dale Crover of the Melvins, and Nirvana recorded its first demos in January 1988. In early 1988, Crover moved to San Francisco but recommended Dave Foster to the band as his replacement on drums. Foster's tenure with Nirvana lasted only a few months, during a stint in jail, he was replaced by a returning Berkherd, who himself didn't stay with the band after telling Cobain he was too hungover to practice one day. Cobain and Novo Selic put an ad in Seattle Music publication The Rocket seeking a replacement drummer, which only yielded unsatisfactory responses. Meanwhile, a mutual friend introduced them to Chad Channing, and the three musicians agreed to jam together. Channing continued to jam with Cobain and Novo Selic, although the drummer noted, �They never actually said OK, you're in,� and Channing played his first show with the group that May. Early Releases, 1988-1990 Nirvana released its first single, A Cover of Love Buzz, in November 1988 on the Seattle Independent Record label Sub Pop. They did their first ever interview with John Robbinsounds who also made the release single of the week. The following month, the band began recording its debut album, Bleach, with local producer Jack Endino. Bleach was highly influenced by the heavy dirge rock of the Melvins and Mudhoney, 1980s punk rock, and the 1970s heavy metal of Black Sabbath. Novo Selic set in a 2001 interview with Rolling Stone that the band had played a tape in their van while on tour that had an album by the Smithereens on one side and an album by the extreme metal band Celtic Frost on the other, and noted that the combination probably played an influence as well. The money for the recording sessions for Bleach, listed as $606.17 on the album Sleeve, was supplied by Jason Everman, who was subsequently brought into the band as the second guitarist. Though Everman did not actually play on the album, he received a credit on Bleach because, according to Novo Selic, they wanted to make him feel more at home in the band. Just prior to the album's release, Nirvana insisted on signing an extended contract with Sub Pop, making the band the first to do so with the label. Following the release of Bleach in June 1989, Nirvana embarked on its first national tour, and the album became a favorite of college radio stations. Due to increasing differences between Everman and the rest of the band over the course of the tour, Nirvana cancelled the last few dates and drove back to Washington. No one told Everman he was fired at the time, while Everman later said that he actually quit the group. Although Sub Pop did not promote Bleach as much as other releases, it was a steady seller, and had initial sales of 40,000 copies. However, Cobain was upset by the label's lack of promotion and distribution for the album.In late 1989, the band recorded the blue EP with producer Steve Fisk. In a late 1989 interview with John Robbins Sounds, Cobain noted that the band's music was changing. He said, The early songs were really angry. But as time goes on the songs are getting poppier and poppier as I get happier and happier. The songs are now about conflicts and relationships, emotional things with other human beings. In April 1990, the band began working with producer Butch Vig at Smart Studios in Madison, Wisconsin on recordings for the follow-up to Bleach. During the sessions, Cobain and Novo Selick became disenchanted with Channing's drumming, and Channing expressed frustration at not being actively involved in songwriter. As bootlegs of Nirvana's demos with Vig began to circulate in the music industry and draw attention from major labels, Channing left the band. That July, the band recorded the single sliver with mud-honey drummer Dan Peters. Nirvana asked Dale Krover to fill in on drums for a seven-day American West Coast tour with Sonic Youth that August. In September 1990, Buzz Osburn of the Melvins introduced the band to Dave Grawl, who was looking for a new band following the sudden break-up of Washington, D.C., hardcore punk's Scream. A few days after arriving in Seattle, Novo Selick and Cobain auditioned Grawl, with Novo Selick later stating, we knew in two minutes that he was the right drummer. Grawl later told QI Remember being in the same room with them and thinking, what? That's Nirvana? Are you kidding, and because on their record cover they looked like psycholumberjacks?  You're kidding me. I laughed. I was like, no way. Mainstream success, 1991-1994. Nevermind and incesticide, 1991-1992. Disenchanted with sub-pop and with the Smart Studios sessions generating interest, Nirvana decided to look for a deal with a major record label since no indie label could buy the group out of its contract. Following repeated recommendations by Sonic Youth's Kim Gordon, Nirvana signed to DGC Records in 1990. The band subsequently began recording its first major label album, Nevermind. The group was offered a number of producers to choose from, but ultimately held out for Butch Vig. Rather than recording at Vig's Madison studio as they had in 1990, production shifted to Sound City Studios in Van Naas, Los Angeles, California. For two months, the band worked through a variety of songs in its catalog. Some of the songs, such as In Bloom and Breed, had been in Nirvana's repertoire for years, while others, including On A Plane and Stay Away, lacked finished lyrics until midway through the recording process. After the recording sessions were completed, Vig and the band set out to mix the album. However, the recording sessions had run behind schedule and the resulting mixes were deemed unsatisfactory. Slayer mixer Andy Wallace was brought in to create the final mix. After the album's release, members of Nirvana expressed dissatisfaction with the polished sound the mixer had given Nevermind. In January 1992 the band played two songs from Nevermind on Saturday Night Live, Smells Like Teen Spirit and Territorial Pissings. Initially, DGC Records was hoping to sell 250,000 copies of Nevermind, which was the same level they had achieved with Sonic Youth Scoo. However, the album's first single Smells Like Teen Spirit quickly gained momentum, thanks in part to significant airplay of the song's music video on MTV. As it toured Europe during late 1991, the band found that its shows were dangerously oversold, that television crews were becoming a constant presence on stage, and that Smells Like Teen Spirit was almost omnipresent on radio and music television. By Christmas 1991, Nevermind was selling 400,000 copies a week in the US. In January 1992, the album displaced Michael Jackson's Dangerous at number one on the Billboard album charts, and also topped the charts in numerous other countries. The month Nevermind reached number one, Billboard proclaimed, Nirvana is that rare band that has everything, critical acclaim, industry respect, pop radio appeal, and a rock solid college alternative bass. The album would eventually sell over 7 million copies in the United States, and over 30 million worldwide. Citing exhaustion, Nirvana decided not to undertake another American tour in support of Nevermind, instead opting to make only a handful of performances later that year. In March 1992, Cobain sought to reorganize the group's songwriter royalties, which to this point had been split equally, so that they were more representative of the fact that he wrote the majority of the music. Groll and Novoselic did not object to Cobain's request, but when the frontman asked for the agreement to be retroactive to the release of Nevermind, the disagreements between the two sides came close to breaking up the band. After a week of tension, Cobain ended up receiving a retroactive share of 75% of the royalties, and bad feelings about the situation remained within the group afterward. Amid rumours that the band was disbanding due to Cobain's health, Nirvana headlined the closing night of England's 1992 Reading Festival, where Cobain personally programmed the performance lineup. Nirvana's performance at Reading is often regarded by the press as one of the most memorable of the group's career. A few days later, Nirvana performed at the MTV Video Music Awards where, despite the network's refusal to let the band play the new song Rape Me during the broadcast, Cobain strummed and sang the first few bars of the song before breaking into lithium. At the ceremony, the band received awards for the best alternative video and best new artist categories. DGC had hoped to have a new Nirvana album by the band ready for a late 1992 holiday season release, since work on it proceeded slowly, the label released the compilation album Incesticide in December 1992. A joint venture between DGC and Sub-Pop, Incesticide collected various rare Nirvana recordings and was intended to provide the material for a better price and at better quality than was available via bootleg copies. As Nevermind had been out for 15 months and had yielded a fourth single and in bloom by that point, Jeff and DGC opted not to heavily promote Incesticide, which was certified gold by the Recording Industry Association of America the following February. In utero, final months and Cobain's death, 1993-1994. In February 1993, Nirvana released Puso, The Guilt, a split single with the Jesus Lizard, on the independent label Touch and Go.Meanwhile, the group chose Steve Albini, who had a reputation as a principled and opinionated individual in the American indie music scene, to record its third album. While there was speculation that the band chose Albini to record the album due to his underground credentials, Cobain insisted that Albini's sound was simply the one he had always wanted Nirvana to have, a natural recording without layers of studio trickery. Nirvana traveled to Packarderm Studio in Cannon Falls, Minnesota, in that February to record the album. The sessions with Albini were productive and notably quick, and the album was recorded and mixed in two weeks for a cost of $25,000. Several weeks after the completion of the recording sessions, stories ran in the Chicago Tribune and Newsweek that quoted sources claiming DGC considered the album unreleasable. As a result, fans began to believe that the band's creative vision might be compromised by their label. While the stories about DGC shelving the album were untrue, the band actually was unhappy with certain aspects of Albini's mixes. Specifically, they thought the bass levels were too low, and Cobain felt that heart-shaped box and all-apologies did not sound perfect. Longtime REM producer Scott Litt was called in to help remix those two songs, with Cobain adding additional instrumentation and backing vocals. Inutero debuted at number one on the Billboard 200 album chart in September 1993. Time's Christopher John Farley wrote in his review of the album, despite the fears of some alternative music fans, Nirvana hasn't gone mainstream, though this potent new album may once again force the mainstream to go Nirvana. Inutero went on to sell over 3.5 million copies in the United States.That October, Nirvana embarked on its first tour of the United States in two years with support from half-Japanese and the Breeders. For the tour, the band added Pat Smear of the punk rock band Germs as a second guitarist. In November 1993, Nirvana recorded a performance for the television program MTV Unplugged. Augmented by Smear and cellist Laurie Goldston, the band sought to veer from the typical approach to the show, opting to stay away from playing its most recognizable songs. Instead, Nirvana performed several covers, and invited Chris and Kurt Kirkwood of the Meat Puppets to join the group for renditions of three of their songs. Also in November 1993, the band made its second appearance on Saturday Night Live, where they played heart-shaped box and rape me. In early 1994, the band embarked on a European tour. Nirvana's final concert took place in Munich, Germany, on March 1. In Rome, on the morning of March 4, Cobain's wife, Courtney Love, found Cobain unconscious in their hotel room and he was rushed to the hospital. A doctor from the hospital told in a press conference that Cobain had reacted to a combination of prescribed Rohypnel and of alcohol. The rest of the tour was cancelled. In the ensuing weeks, Cobain's heroin addiction resurfaced. An intervention was organized, and Cobain was convinced to admit himself into drug rehabilitation. After less than a week in rehabilitation, Cobain climbed over the wall of the facility and took a plane back to Seattle. A week later, on Friday, April 8, 1994, Cobain was found dead of a self-inflicted shotgun wound to the head at his Seattle home. Aftermath and posthumous releases, 1994–present. In August 1994, DGC announced that a double album titled Verse Chorus Verse featuring live material from throughout the group's career on one CD and its MTV unplugged performance on another was due for release that November.However, Novoselic and Groll found assembling the live material so soon after Cobain's death to be too emotionally overwhelming. Groll founded the Foo Fighters, and Novoselic turned his attention to political activism. With the career-spanning live portion postponed, MTV Unplugged in New York debuted at No. 1 on the Billboard charts upon release in November 1994. A few weeks later the group's first full-length video, Live. Tonight. Sold out, was released.The following year, MTV Unplugged in New York earned Nirvana a Grammy Award for Best Alternative Music Album. In 1996, DGC finally issued a Nirvana live album, From the Muddy Banks of the Wishka, which became the third Nirvana release in a row to debut at the top of the Billboard album chart. In 1997, Novoselic, Groll, and Courtney Love formed the limited liability company Nirvana LLC to oversee all Nirvana-related projects. A 45-track box set of Nirvana rarities was scheduled for release in October 2001. However, shortly before the release date, Love filed a suit to dissolve Nirvana LLC, and an injunction was issued preventing the release of any new Nirvana material until the case was resolved. Love contended that Cobain was the band, that Groll and Novoselic were side-men, and that she signed the partnership agreement originally under bad advice. Groll and Novoselic countersued, asking the court to remove Love from the partnership and to replace her with another representative of Cobain's estate. The day before the case was set to go to trial in October 2002, Love, Novoselic, and Groll announced that they had reached a settlement. The settlement paved the way for the release of the compilation album Nirvana, which featured the previously unreleased track You Know You're Right, the last song Nirvana recorded before Cobain's death. Nirvana was released later that month, debuting at No. 3 on the Billboard album chart. The box set, with the lights out, was finally released in November 2004. The release contained a vast array of early Cobain demos, rough rehearsal recordings, and live tracks recorded throughout the band's history. Sliver, the best of the box, which called 19 tracks from the box set in addition to featuring three previously unreleased tracks, was released in late 2005. In April 2006, Love announced that she had arranged to sell 25% of her stake in the Nirvana song catalog in a deal estimated at $50 million. The share of Nirvana's publishing was purchased by Primary Wave Music, which was founded by Larry Mestel, a former CEO of Virgin Records. In an accompanying statement, Love sought to assure Nirvana's fanbuss that the music would not simply be licensed to the highest bidder, noting, We are going to remain very tasteful and true to the spirit of Nirvana while taking the music to places it has never been before. Further releases have since been made. This includes the DVD releases of Live. Tonight. Sold out, in 2006, and the full, uncut version of MTV Unplugged in New York in 2007. The band's performance at the 1992 Reading Festival was released on both CD and DVD as Live at Reading in November 2009. That month, Sub Pop released a 20th anniversary deluxe edition of Bleach, and DGC released a number of 20th anniversary deluxe edition packages of both Nevermind in September 2011, and Inutero in September 2013. In 2012, Grawl, Novoselic, and Smear joined Paul McCartney at December 12, 2012, the concert for Sandy Relief. The performance featured the premiere of a new song written by the four musicians entitled Cut Me Some Slack. A studio recording was released on the soundtrack to Sound City, a film by Grawl. On July 19, 2013, they would once again play with McCartney during the encore of his Safeco field out their concert in Seattle, the first time Nirvana members played together in their hometown in over 15 years. In 2014, Nirvana was inducted into the Rock and Roll Hall of Fame, the members inducted were Cobain, Novoselic, and Grawl. At the induction ceremony, Novoselic, Grawl and Smear performed a four-song set with guest vocalists Joan Jett, Kim Gordon, St. Vincent, and Lord. Novoselic, Grawl, and Smear then performed a full show at Brooklyn's St. Vitus Bar with Jett, Gordon, St. Vincent, J. Massies, and John Macaulay as guest vocalists. At the ceremony, Grawl thanked Berkherd, Crover, Peters and Channing for their time in Nirvana. Everman was also invited and attended the ceremony. At Clive Davis annual pre-Grammy party in 2016, the surviving members of Nirvana once again reunited to perform the David Bowie song The Man Who Sold the World that they'd covered on their unplugged album. Beck joined the band to play acoustic guitar and handle lead vocals. Musical style Cobain described the sound of Nirvana when it first started as a gang of four and scratch acid rip-off. Later when Nirvana recorded Bleach, Cobain felt he had to fit the expectations of the sub-pop grunge sound to build a fanbus, and hence suppressed his arty and pop songwriter traits while crafting the record in favor of a more rocking sound. Nirvana biographer Michael Azarad argued, ironically, it was the restrictions of the sub-pop sound that helped the band find its musical identity. Azarad stated that by acknowledging that its members had grown up listening to Black Sabbath and Aerosmith, the band was able to move on from its derivative early sound. Nirvana used dynamic shifts that went from quiet to loud.Cobain had sought to mix heavy and pop musical sounds, he commented, I wanted to be totally Led Zeppelin in a way and then be totally extreme punk rock and then do real wimpy pop songs. When Cobain heard the Pixies 1988 album Surfer Rosa after recording Bleach, he felt it had the sound he wanted to achieve but until then was too intimidated to try. The Pixies subsequent popularity encouraged Cobain to follow his instincts as a songwriter. Like the Pixies, Nirvana moved between spare bass and drum grooves and shrill bursts of screaming guitar and vocals. Near the end of his life, Cobain noted the band had become bored by the formula, finding it limited, but he expressed doubts that the band was skilled enough to try other dynamics. Cobain's rhythm guitar style, which relied on power chords, low-note riffs and a loose left-handed technique, featured the key components to the band's songs. Cobain would often initially play a song's verse riff in a clean tone, then double it with distorted guitars when he repeated the part. In some songs the guitar would be absent from the verses entirely to allow the drums and bass guitar to support the vocals, or it would only play sparse melodies like the two-note pattern used in smells like teen spirit. Cobain rarely played standard guitar solos, opting to play slight variations of the song's melody as single-note lines. Cobain's solos were mostly blues-based and discordant, which music writer John Chappell described as almost an iconoclastic parody of the traditional instrumental break, a quality typified by the note-for-note replication of the lead melody in Smells Like Teen Spirit and the atonal solo for Breed. When asked about their musical education, the band states that they had no formal musical training. In fact, Cobain says, I have no concept of knowing how to be a musician at all whatsoever. I couldn't even pass Guitar 101. Grawl's drumming took nirvana's sound to a new level of intensity. Azarad stated that Grawl's powerful drumming propelled the band to a whole new plane, visually as well as musically, noting, although Dave is a merciless basher, his parts are also distinctly musical it wouldn't be difficult to figure out what song he was playing even without the rest of the music. From 1992, Cobain and Novoselic would tune their guitars to E-flat for studio and live performances, up until then, their live tunings were to concert pitch. Cobain noted, We play so hard we can't tune our guitars fast enough. The band made a habit of destroying its equipment after shows. Novoselic said he and Cobain created the shtick in order to get off of the stage sooner. Cobain stated it began as an expression of his frustration with Chad Channing making mistakes and dropping out entirely during performances. Songwriter and lyrics. Everett True said in 1989, Nirvana songs treat the banal and pedestrian with a unique slant. Cobain came up with the basic components of each song, usually writing them on an acoustic guitar, as well as the singing style and the lyrics. He emphasized that Novoselic and Grawl have a big part in deciding on how long a song should be and how many parts it should have. So I don't like to be considered the sole songwriter. When asked which part of the songs he would write first, Cobain responded, I don't know. I really don't know. I guess I start with the verse and then go into the chorus. Cobain usually wrote lyrics for songs minutes before recording them.Cobain said, When I write a song the lyrics are the least important subject. I can go through two or three different subjects in a song and the title can mean absolutely nothing at all.  In comparison, Cobain stated that the lyrics to Inutero were more focused, they're almost built on themes. Cobain didn't write necessarily in a linear fashion, instead relying on juxtapositions of contradictory images to convey emotions and ideas.  The songs are like a mixture of both of them. That's how most people my age are. Legacy Stephen Thomas Earlwine wrote that prior to Nirvana, alternative music was consigned to specialty sections of record stores, and major labels considered it to be, at the very most, a tax write-off. Following the release of Nevermind, nothing was ever quite the same, for better and for worse. The success of Nevermind not only popularized grunge, but also established the cultural and commercial viability of alternative rock in general. While other alternative bands had hits before, Nirvana broke down the doors forever, according to Earlwine. Earlwine further stated that Nirvana's breakthrough didn't eliminate the underground, but rather just gave it more exposure. In 1992, John Perelz of The New York Times reported that Nirvana's breakthrough had made others in the alternative scene impatient for achieving similar success, noting, suddenly, all bets are off. No one has the inside track on which of dozens, perhaps hundreds, of ornery, obstreperous, unkempt bands might next appeal to the mall walking millions. Record company executives offered large advances in record deals to bands, and previous strategies of building audiences for alternative rock groups had been replaced by the opportunity to achieve mainstream popularity quickly. Earlwine stated that Nirvana's breakthrough popularized so-called Generation X and slacker culture.Immediately following Cobain's death, numerous headlines referred to Nirvana's frontman as the voice of a generation, although he had rejected such labeling during his lifetime.  Awards and accolades Since its breakup, Nirvana has continued to receive acclaim, and is regularly considered one of the greatest music artists of all time. In 2003, Nirvana was selected as one of the inductees of the Mojo Hall of Fame 100. The band also received a nomination for induction in the UK Music Hall of Fame in 2004 as the greatest artist of the 1990s. Rolling Stone placed Nirvana at number 27 on their list of the 100 greatest artists of all time in 2004, and at number 30 on their updated list in 2011. In 2003, the magazine's senior editor David Fricka picked Kurt Cobain as the 12th best guitarist of all time. Rolling Stone later ranked Cobain as the 45th greatest singer in 2008 and 73rd greatest guitarist of all time in 2011. VH1 ranked Nirvana as the 42nd greatest artists of rock and roll in 1998, the 7th greatest hard rock artists in 2000, and the 14th greatest artists of all time in 2010. Nirvana's contributions to music have also received recognition, with Nevermind and Smells Like Teen Spirit consistently being ranked as one of the greatest albums and songs of all time, respectively. The Rock and Roll Hall of Fame has inducted two of Nirvana's recordings, Smells Like Teen Spirit and All Apologies, into its list of the songs that shaped rock and roll. The museum also ranked Nevermind number 10 on its The Definitive 200 Albums of All Time list in 2007. In 2005, the Library of Congress added Nevermind to the National Recording Registry, which collects culturally, historically or aesthetically important sound recordings from the 20th century. In 2011, four of Nirvana's songs appeared on Rolling Stone's updated list of the 500 greatest songs of all time, with Smells Like Teen Spirit ranking the highest at number 9.3 of the band's albums were ranked on the magazine's 2012 list of the 500 greatest albums of all time, with Nevermind placing the highest at number 17. About the same three Nirvana albums were also placed on Rolling Stone's 2011 list of the 100 best albums of the 90s, with Nevermind ranking the highest at number 1, making it the greatest album of the decade time included Nevermind on its list of the all time 100 albums in 2006, labeling it the finest album of the 90s. In 2011, the magazine also added Smells Like Teen Spirit on its list of the all time 100 songs, and heart shaped box on its list of the 30 all time best music videos. Nirvana is one of the best selling bands of all time, having sold over 75 million records worldwide. With over 25 million RIAA certified units, the band is also the 80th best selling music artist in the United States. Two of the band's studio albums and two of their live albums have reached the top spot on the Billboard 200. Nirvana has been awarded one diamond, three multi-platinum, seven platinum and one gold certified albums in the United States by the RIAA, and four multi-platinum, four platinum, two gold and one silver certified albums in the UK by the BPI. Nevermind, the band's most successful album, has sold over 30 million copies worldwide, making it one of the best selling albums ever. Their most successful song, Smells Like Teen Spirit, is among the best selling singles of all time, having sold 8 million copies. Nirvana were announced in their first year of eligibility as being part of the 2014 class of inductees into the Rock and Roll Hall of Fame on December 17, 2013. The induction ceremony was held April 10, 2014, in Brooklyn, New York, at the Barclays Center. However, Channing, who was informed of his omission by SMS, was not included in the induction, as the accolade was only applied to Cobain, Novoselic and Grawl.