Author: Chris5156

Avatar How to use a cash machine

Many of us Millennials (I think we’re Millennials, are we Millennials?) have trouble using old-fashioned things. We do everything digitally now. Personally I get all my sleep done using an app and I have a monthly subscription that delivers all my food through my Smart TV. So it can be a bit of a challenge for us Millennials (Jesus I think we actually might be Millennials) to get to grips with the analogue world.

Old people and market stall traders use “money” in place of digital bank transfers and contactless payments. If you need some “money” you can get it from a cash machine. They can be bewildering if you’re under the age of 60, but don’t worry, they’re quite easy to use once you know how.

Here’s the correct procedure.

  1. Locate a cash machine. It will look like a sort of retro 80s video game machine embedded in the wall of a bank.
  2. Familiarise yourself with the layout of the machine. Designs can vary but they will all have some common features: a screen with control buttons down each side; a numeric keypad; a heavily fortified metal letterbox; and a little slot with a flashing green light.
  3. Insert your contactless bank card into the flashing slot. The machine is old and needs to actually make contact with it, but will give it back later.
  4. Look at the screen. It will usually ask you to wait, because it’s old. Eventually you’ll be asked for your PIN number. Try to remember this. It’s what you had to use before you had a contactless bank card.
  5. The screen will now ask you how much “money” you want and whether you want a receipt. Use the buttons next to the screen to appease its desire for information.
  6. A beeping noise will announce the return of your contactless bank card. Retrieve it from the slot when it is slowly regurgitated.
  7. The machine will now make whirring noises and, after an interval, the quantity of “money” you requested will be thrust out of the fortified letterbox.
  8. You need to still be standing at the machine if you want to actually claim this money. If you have absent-mindedly walked away as soon as your card is extruded, you will not get the money.
  9. If you stupidly walk away before the money appears, you will hear a loud beeping sound coming from the cash machine as you walk away, and you will spend a few seconds thinking it sounds like the sort of beeping sound a cash machine makes, and wondering why a cash machine might be making a noise like that.
  10. You will only realise when the beeping noise stops that it’s the sound of a cash machine trying to tell you you’ve got it to dispense some of your hard earned cash, £30 to be precise, and then idiotically absconded before the cash dispensing happened, leaving thirty of your precious sheets wafting in the breeze in a crowded shopping street.
  11. As the horror of your stupid, moronic actions finally dawn on you, you will turn around, just in time to see your thirty quid being removed from the machine by some middle aged woman whose face is a picture of nefarious glee, scarcely able to believe her luck that some brainless fool has just put three shiny tenners in her hand.
  12. You begin to run back to the cash machine, but the crowd of shoppers slows you down, you can’t get through, and meanwhile the woman has melted into the crowd, anonymous in a black coat in a sea of black coats, a bit shorter than average, lost below the heads and hats, and – probably wary of the fact that whoever just used the cash machine can only be a few paces away – is more than likely now darting for cover to make a getaway. She could have gone down a narrow alley on the left, or into one of the shops.
  13. By the time you get to the cash machine, she’s gone, and you’re £30 down, you absolute tool.
  14. You absolute tool.

Avatar Unexpected

I was at someone’s leaving do last night.

I’ve only been in this job a little while so I don’t know him very well, but a works leaving do is a thing everyone goes to regardless of who it is or how well they know them. You turn up and have a drink and laugh about people you work with who are currently out of earshot at the other side of the bar, and then at some point you get 30 seconds with the actual person who’s leaving so you can say things like “good luck” and “it’s been really great working with you”. You know how it is.

At about 11, not long before he left, I bumped into Jon (who is leaving) and got 30 seconds with him before he was whisked away by someone else. “Good luck”, I said. “It’s been really great working with you”.

The normal thing at this point is for the person who is leaving to say something like “yeah, you too” and “I’ll probably see you again at someone else’s leaving do before long”, and then you laugh heartily, and then your 30 seconds are up.

That’s why I was very surprised when Jon went completely off script and said “keep writing those Mr Smith books, they’re fucking hilarious. You’ll have to send me the next one if you do any more.”

I didn’t have a reply ready for this highly improbable situation, so I floundered for a moment without knowing what to say, and then my 30 seconds were up and he was whisked away to another little group of people, waving and enthusiastically thumbs-upping me as he went. Presumably it was their turn to say “good luck” and “it’s been really great working with you”.

I doubt any of them had ever read the adventures of Mr Smith. But then, I didn’t think Jon had, so maybe they had. Maybe everyone has. I don’t really know what to expect any more.

Avatar Interlude

Ladies and gentlemen, we have now reached approximately the mid point of this website, so this is a suitable time to take a short break. Please feel free to take this opportunity to visit the bathroom or step out into the foyer to avail yourself of our wide range of beers, wines, spirits and snacks.

Part two of Pouring Beans will begin in a few minutes. In the meantime, please enjoy five minutes of gleeful silliness that everyone of sound mind ought to have in their lives.

Avatar Mysterious Hand Man

On March 13, 2014, something important happened. What that something was, though, is a mystery.

Here are the facts of the case.

At an unknown time on that day, a registered user logged in to The Beans and – using their privileged access to this sacred dominion – perpetrated an act of digital flytipping. An image was uploaded to the web server which was not included in any post and which, until today, occupied server space without performing any useful function. That image can now be revealed for the first time in four and a half years. Let’s hope its owner will one day face justice. (Ideally chunky justice, but let’s not be picky.)

Here it is. The Police are referring to it as “Mysterious Hand Man”. Please call Crimestoppers if you have any leads.

Avatar Four Word Reviews: Footprints

Whenever a little CD-sized padded envelope arrives in my postbox, it’s like a time capsule. Where will we go? Terrible cartoon cover versions of the 90s? Forgotten Gospel from the 60s? Or perhaps, like today, we’ll find ourselves transported to a world I’d almost forgotten: the very early 2000s, and a branch of pop music that I mostly tuned out was big in the charts. It was heavily RnB influenced and it gave us “No Scrubs” and Gwen Stefani’s second wind and lots of songs with hi-hat and a whole, horrendous wave of misogyny, from “Thong Song” to “Hot In Herrrre”. And, at the lighter, poppier end of this best-forgotten spectrum, it gave us Australian soap star Holly Valance, and her 2002 album Footprints.

The lead single and the most memorable thing to come off this album was “Kiss Kiss”, a cover version of a song that had been big in the Middle East already, and which was sort of interesting because it had that RnB sound but it also had lots of floaty, Disney’s Aladdin-style fantasy-Arabia instrumentation. It also had a weird kissy sound as its chorus line instead of words, which was a bit embarassing.

If you thought “Kiss Kiss” was a pretty brazen “come and get it” song for a 19-year-old to be singing then you should hear the rest of the album. Put aside the bang-on-trend production – which I am happy to do, that trend being 16 years old and not something I cared for even at the time – and you appear to have an album conceived and directed by male middle-aged record company execs with their trousers around their ankles excitedly working out what they can get a 19-year-old girl to sing without it actually being pornography. And I might be getting old but I was starting to find it creepy by about track 5.

Anyway: let’s see the shape of this thing.

Track Title Word 1 Word 2 Word 3 Word 4
1 Kiss Kiss Kisses instead of words
2 Tuck Your Shirt In Detailed dress code pop
3 Down Boy Quick yet queerly quiet
4 City Ain’t Big Enough Desperate to be TLC
5 Cocktails and Parties Smugly not seducing husbands
6 Whoop “Kiss Kiss”, but “Whoop”
7 Hush Now Eternal meets Leg Jazz
8 All in the Mind “Massive explosion, magic emotion”
9 Harder They Come It’s no Jimmy Cliff
10 Help Me Help You Helplessly slushy twinkly bobbins
11 Naughty Girl Breathily dubious sexiness attempt
12 Connect 2000s RnB harpsichord action
13 Send My Best Sensual acoustic guitar finale

Track 2 is, like “Kiss Kiss”, very Middle Easty, and I wondered whether the whole album would be like that, but the answer is no, it’s just those two tracks. The other 11 could be Eternal, Destiny’s Child, TLC or maybe Cleopatra songs if you weren’t listening too closely. It’s been produced to death, all twinkles and vocoders, and a lot of songs have that stuttery effect in the bridge where it sounds like the song is skipping in time with the beat. You’d know it if you heard it. All those songs did it in those days.

And it really is all very sexual. Here’s some of the lyrics I scribbled down, though this list could have been much, much longer. I don’t need to go into the insinuations that “Harder They Come” is making.

  • “I can be your fantasy, give you what you want”
  • “Keep you up all night”
  • “I’m proud to arouse”
  • “I’m a naughty girl, I can dance what you want me to dance”

In summary, my favourite thing is that, because it was made in 2002, it’s an “enhanced” CD featuring the videos to “Kiss Kiss” and “Down Boy”, and a special feature about the making of them. I didn’t watch them, obviously. I’d heard enough of this by the time I reached the end of track 13. I’d just forgotten that video extras on CDs used to be a thing and it made me feel a bit nostalgic for a few minutes. My least favourite thing about this album is that I’m not sure whether listening to it means I have to go on some kind of register now.

Avatar Teapipes

Things are complicated now, aren’t they? There’s a lot going on.

I can’t fix that, but I can give you a ninety second holiday from all the complicated stuff in the world of 2018 by taking you back in time to 2012, an innocent age when anything seemed possible, and three handsome young men asked themselves the question: why should a man only be able to drink one cup of tea at once?

OK. That’s all there is. Now get back to your stupid complicated life.

Avatar Colour chart

Just in time for Kev’s annual Whole House Redecoration (start date 1 November 2018; completion due 25 October 2019), Pouring Beans Chemicals Ltd. are delighted to announce their new home decor paint range.

All our new paints are lovingly hand-made at the large chemical refinery down by the docks.

Whimbrel
Neither too yellow, nor too sad, Whimbrel is the colloquial name for the traditional butcher’s apron which this haughty colour embodies. It’s the perfect contrast to our slightly lighter Musty White and Smoky White, creating a trio of colours that sit perilously close together in modern and traditional homes.
Third Degree Burns
The deep blackened pigmentation gives a smug burgundy finish with a wonderfully sore feel. This, our most angst-ridden red, reads almost like a disingenuous purple if you compare it to our more painful looking Internal Bleeding Crimson.
Dipsomaniac
This quietly desperate blue feels wonderfully hopeless, and could be suitable anywhere from a service riser to an airy frotting room. The exact shade is rooted in a despondency palette. Like denim, its blue hue is ultimately worthless and yet always feels tipsy.
Churlish Bile
This takes its name from the old English expectorations of simple peasants with a poor diet. With its highly pigmented yellow base, this mid green creates a totally unique look by not actually being green at all. It’s a statement colour when contrasted with shades as repellent as Titchmarsh Brown. It is also fabulous when used with furtive glee.
Ocean Drowning
This rich teal takes its name from highly fashionable show-drowning in pre-revolutionary France. Sitting between Punitive Green and Biliousness, its subtle blue undertones work particularly well in modern aquatic spaces. Slop onto industrial processing units alongside Huguenot Fishwife on pipes and valves for a clean finish that is conducive to modern industry.

Other shades are also available. Please ask your stockist to mix two cans together and see what they get.