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srbachchan · 3 years

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DAY 4831

Jalsa, Mumbai May 20, 2021 Thu 9:14 PM

Birthday - Ef Gopi Sheth .. Ef Aish TVM .. Friday, May 21 .. our greetings and love on this special day .. be safe be well and be protected .. ❤️🌹

A dear friend sent me this article .. I thought it was a very good read and so thought of putting it here :

Write Tight

What is poetry? Etymology provides more questions than answers.

T. S. Eliot, who once famously called National Poetry Month the cruelest, was also one of many to point out the hopeless semantic tangles that ensue because “poetry” has two opposites. Poetry can be the lined stuff, often with rhymes, as opposed to sentences and paragraphs; poetry can also be the good stuff, as opposed to the plodding or simply informational. But if good prose can be poetic, a novel can be “pure poetry,” and poems can be prosaic, then it’s not clear what anyone is talking about, really. Or rather, it’s clear except to theorists trying to come up with definitions. Poetry is what’s thrilling, while a poem is that poor thing with eleven readers, eight of them members of the poet’s extended family.

Etymology doesn’t help—it only highlights that the apples and oranges here are how the thing is made and how it moves. Poetry is from the Greek poiein, “to make”: a poem is something made, or in English we would more naturally say crafted. Yet everyone agrees good prose is well crafted, too. Prose means, literally, “straightforward,” from the Latin prosa, proversus, “turned to face forward” (whereas verse is all wound up, twisty and snaky, “turned” in every direction except, apparently, forward). Yet we all know that poems can be clear and direct, too, especially when they’re songs.

Sidelining sonnets and quarantining quatrains in the poetry ghetto does produce a certain clarity. But of course it also creates problems when translating from languages that gerrymander poetry differently. In German, for example, writer is a word even more literal than the English “someone who writes”: it’s Schriftsteller, a put-down-on-paper-er (Schrift = “writing,” stellen = “to place, to put”). Autor is a word used a bit less often for pretty much the same thing, unlike in English, where there’s a difference: author expresses a professional and financial identity (there are no “unpublished authors,” unless maybe the manuscript is finished and the contract is signed), while a writer is someone pursuing an activity (published or not, paid or not, read or not).

And then there’s a Dichter, usually translated “poet” but meaning a creator of poetry in the grand sense. The verb dichten means “to write poetry, ” and a poem is a dichten-ed thing, a Gedicht, but dichten means more generally to write poetically and well. The good stuff. The writer as hero of the spirit. How do you say that in English? We don’t have heroes of the spirit.

At least not according to Grimm’s German Dictionary—the equivalent of the Oxford English Dictionary, and started by those same Brothers Grimm who brought us “Little Red Riding Hood.” It gloats that dichten means “to create poetically, filled with a higher intelligence,” and that “the word does not exist in French and English: they work around it with s’adonner à la poésie, faire des vers; to compose a poem, to make verses, to versify.” The OED can fire back all it wants—pleading that dight had “an extraordinary sense-development” in Middle English from its original “senses of literary dictation and composition,” to become “one of the most widely used words in the language”—but its efforts are in vain. From that whole extraordinary range of meanings we use exactly none anymore.

“To understand the word,” Grimm’s poetically goes on, “we must go back to an earlier time …” Dichten originally meant to write something down so it could be read or sung, something that had already been worked out in the mind (from the Latin dictare, “to say, to dictate”). It swerved into meaning the mental working-out, too, the originating creative act. A sixteenth-century saying already plays on the same double meaning that causes ambiguity in English: “A good enough rhyme-smith, but hardly a poet” (Reimschmiede genug, aber wenig Dichter). But from there, the word left the confines of verse. In German, you can still call someone a poet in the grand sense without consigning him to the poetry ghetto.

So what is a Dichter in prose? I have caved on occasion and translated Dichter as “poet,” in cases where the character in question may or may not be a poet (e.g., Robert Walser’s story “Letter from a Poet to a Gentleman”), or happens to be a poet even if that’s not really the point. Goethe was a poet, so the title of his autobiography, Dichtung und Wahrheit, can be translated as it usually is, Poetry and Truth, even though the book is not particularly about verse as opposed to other forms. His topic is actually Imagination and Truth, but imagination set down on paper. To put it anachronistically: Creative Writing and the Truth.

Sometimes, though, “poet” risks being downright misleading. A twentieth-century German writer named Uwe Johnson, known as the Dichter der beiden Deutschlands (the Dichter of both East and West Germany), wrote only prose. Call him the “poet of both Germanies” and people will think he’s a poet. He is more like “the voice of divided Germany,” or even “the bard,” despite being neither a songwriter nor Shakespeare. In English, we can get the grandeur (voice) or the job (writer, author, novelist), but not both.

There are cognates of dichten, from the same Latin dictare, but they never took on the same soaring spirit in English, at least since the demise of dight. Very much on the contrary. Our closest cognate, indite, “to put into words, write, compose, give literary form to,” was more or less completely swamped by what was once the same word, indict, “to write up charges, bring legal action against.” (Probably under interference from indicare, “to indicate, give evidence against”; and indicere, “to declare publicly,” compare Italian indicere, “to denounce.”) To translate Dichter as “inditer” won’t do. Even our least sarcastic Dichter is sarcastic about that: “Perhaps my best moments I never jot down; when they come I cannot afford to break the charm by inditing memoranda”—Walt Whitman.

Coincidentally, dicht in German also means “tight,” as in watertight or airtight (from Old Norse þéttr, apparently completely unrelated etymologically to dictare), and the verb dichten is also “to seal, caulk, make impermeable,” as well as “to make more dense or compact.” Ezra Pound played on the pun in his second most well-known slogan for what poetry does (after “Make it new”): dichten = condensare. An imagist manifesto in twenty characters: to write poetry is to condense and supercharge language. (Pound attributed the equation to the poet Basil Bunting “fumbling about with a German–Italian dictionary”; actually, Bunting knew what he was doing, and wasn’t exactly fumbling. Pound = condescendere.)

This may not be a less ambiguous definition of poetry, but it is a good challenge for the Dichters in our midst, in poetry or prose. Don’t just make it new: make it tight.

with admiration for the ones that read and feel read ..❤️

Amitabh Bachchan

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sonderrow-moved · 4 years

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LINK TO QUINN LINK TO JAEL LINK TO ROY

LIKE for a preestablished relationship/plotting line with Archer… BUT have at least one category in mind before I hop in your IMs!

I entirely get the urge of wanting to roleplay, expand our muses together, and this is my personal starting pack for Archer! If you’re hooked to one category but don’t think your muse can fit still HMU about it and I’ll see how we can work that out!

REMINDER I HAVE A LOT OF THREADS. Like often a lot. Roleplaying is something that effortlessly really relaxes me, but I am still one human. I like to see all my threads through no matter how long the wait is and do my best ! Thus we might not be threading right off the bat depending on how much stuff I have, but everything established can get into asks, dash shenanigans, etc. What matters is that it shapes our characters. 🙏

BUSINESS PEERS. Archer’s professional and very efficient work ethic made him notorious in unspoken matters as someone who will get things done with no needs of public recognition… which would lead to inner, private and ultimately more treasured recognition. He used to have clients, partners and met a lot of others at parties he went frequently to, mostly charity parties often disguised as business ones. Those partners may have known his father, maybe his grandfather, or maybe they’re fresh right out the bat, maybe the Kessler company sought them, maybe your muse’s company sought them and you stumbled upon him. Mind you that Archer has made the scandalous decision to sell the majority of his actions towards the company and doesn’t get more involved than necessary with its activities. This profile fits to every muse high enough in the business ranks to meet Archer; at least chief of a team in a department. It’s all about title. Do be reminded that the Kessler company is known to have an illegal and scandalous history as of NOW and that a lawful good muse would probably not want to be associated with it, or any muse wanting to go legal.

LEGAL WORKERS. With the horribly enormous pile of cases Archer’s been involved with, he needs a lawyer cabinet to back him and his business. Multiple ones. Maybe it is a genuinely crooked one, or a blindly optimistic one who believes his claims of innocence and being against the world, maybe the whole cabinet is broken and as a newly employed lawyer you are still too innocent until you notice. Law enforcers and government representatives knows how much Archer is guilty (or not), making him infamous in their ranks as one of those irritating cases where the system doesn’t seem to work. For muses working in the justice system, on any side, from judge to prison guard.

“FRIENDS”. Archer lost all of his friends when he was accused and imprisoned. He would have done the same thing; every one who was still linked by friendship to him risked everything. You’re one of those, because you’re not an idiot… or maybe you are and you did lose everything to keep your integrity. Or maybe you really were too stupid and loyal and believed Archer did nothing. This applies to particular muses who can fit in a scenario like this. Although for the sake of social standing Archer could “befriend” quite some people, he had a particular preference towards artists and introverted yet talented minds who had lots of potential, wanting to make them grow.

CRIMINALS. Con artists, mafiosos, yakuzas, drug dealers, maybe assassins, thieves, hackers, corrupted law enforcement agents, rich guys with illegal fetishes… Archer has dealt at least with all of them at least once. As a “cleaner” before he finally sat down on the CEO chair, Archer was the one who by circumstances became known for his professionalism, cool head and ability to erase any evidence from even the most alarming and need-to-be-quickly-done situation. Even a killer who does so as a hobby or for personal gain would eventually be caught as he goes on, unless he can take a contract or too, and have him give a helping hand in exchange for secrecy. This applies to muses with at least a medium-ranked profile in the underground (so no simple alley drug dealer unless plotted).

ENTERTAINERS & SEX WORKERS. Given how Archer sees sex as being an extremely powerful tool, he often got around the latter, choosing carefully which escort he’ll personally put at his services. Archer kept the best ones at hand, to please contacts and clients. He respects them for their work, but he wanted professionalism from you and not cry if you got almost cut in half after a night. Although he stepped down from his CEO position, Archer was pushed into his sire’s hotel line, which secretly dealt with human trafficking and prostitution. With his experience, he slowly is coming back and is moving all his contacts over there, wanting to change his approach. Despite the need of running a very real business, he cannot ignore the amount of work his sire’s illegal business brings. This profile fills every muse working in the sex business outside camshows and movies. They don’t have to be the ones close to Archer.

VICTIM(S). Archer is a very high-rated criminal. Although he has only been found guilty of extortion, corruption, blackmailing, piracy and other business-linked crimes, he was accused but not found guilty of sequestration, serial murder, serial rape, torture, committing indignity to a body, publishing obscene material, harassment, insert lots of other legal terms surrounding this. Accusations which have been highly mediatized given how high profile he was at the time, him being used as a scapegoat and the scandal only worsened when it was said it was both on minors and adults. I won’t get too much on what the truth is, but if you’d like your muse to be victim of Archer’s real crime(s), do hit me up I’ll be very selective on this given it’s important to his background story. This profile would fit highly disturbed muse, hobos, prostitutes, people living in very poor districts, pretty much people who have the perfect victim profile. OR it can also be other businessmen, common people, those who would have their life ruined indirectly or directly any organization Archer was or is involved with, the most common being as putting you in debt with the mafia knocking at your door to kill you, break your legs or torture someone you love until you give them what they want.

NEAR THE VICTIM(S). There are suspicions your friend/lover/brother/whatever was done wrong because of Archer. Maybe you’re the one who pressed charges. Maybe it’s not you, but in some way you were involved indirectly in the scandal and it did something to you and you have your own opinion on it. Maybe you seek where Archer is to kill him, maybe just talk to him and understand… something.This profile fits a muse who has lost someone close to them in suspicious circumstances.

PARTNER IN CRIME. You were there and you liked every bit of it probably (or if not you’re surely dead). VERY SELECTIVE. This profile fits muse with probable sociopathic and/or psychopathic tendencies who knows their way across the most fucked-up places of the underworld.

OBSESSION. High profile criminals with atrocious records are known to, sadly, have, yes,fans. Your muse believes that Archer did most of what he was accused for, choose to your discretion. Maybe they wanted to visit him, maybe they sent him gifts and mails, maybe they were already almost obsessed with him BEFORE he was accused given his bit of a disturbed but extremely charismatic and successful behavior and just FELL more as he was sequestrated. This profile fits muse going to the simple nerd with morbid curiosity to the very intense stalker.

MATCHMAKING. Since his teens, Archer has met multiple people for a potential marriage; the woman in question and the relatives that accompany her. And… when bored, his sister has the nasty habit of wanting to play matchmaker with him; Archer may not be the best person, but he’d hate to not make up to someone his hell of a relative tricked. Self explanatory. Archer’s sister, Eve (Everleigh), is owner of two modern galleries, so single people susceptible to befriend her could fall into that trap.

SCHOOL FACES. Archer cut next to every tie which couldn’t help in business after he graduated from university. It was brutal and without much warning although given how he was drawn to his duty, nobody was surprised. Archer got schooled at home as a child after becoming a depressed before going to a rich high-end private school. Afterwards, he became a star tennis player and the moral support of the team. He was also the president of a literature club where he was able to bond a bit with nerds and was known to tutors younger kids he believed had potential to help his reputation or parents who had power to help his family. Archer was mostly loved by everyone, but still bullied the weak or didn’t hesitate to stomp on other to raise himself higher. Victims of his young impulses, partner or rival in the tennis court, maybe the librarian, maybe a classmate, maybe someone from another school who always saw him and wanted to know him. This profile fits muses that Archer would not talk to unless he knew them from the past. Mostly younger muses that leads a life that has nothing to do with his work. RP can be during his younger years or simply skipped to the main verse.

MEALS. As a vampire, Archer consolidated his hypnotic powers and feeding, starting to leave some preys alive, but dazed and forgetful at times. On top of the numbness and blinding aphrodisiac the poison in his biting provides, he is able to leave the impression like their meeting was a dream; victims will remember vaguely his face, voice or other depending on characters, but not remember the feeding. However, willing and loyal ones may even befriend Archer, who finds consenting people much easier to deal with than laying bodies and sudden disappearances. This profile fits grey morale muses, ones who loves the supernatural, masochists, etc. who’d trade their blood and silence in exchange of being around a vampire. Archer only feeds on females if they ask directly for it or if there is nothing else, highly preferring to feed on males, which is linked to his sexual preferences.

RED LIGHT DISTRICT. Archer has become a prominent figure of the red light district; as the one guy who owned everything (which is not true, but blown out of proportions). Due to the forceful, ruthless and undeniably lustful reputation his sire has, being the envoy puts him in a powerful position where the line between him and the one who turned him might blur to others, as if they were the same person. Anything new in the district goes through him and pros and cons are weighted for healthy competition. Outside the hotels and their affiliated businesses, Archer personally owns two bars; one is lounge gay bar and the other one of the same style, only for the supernaturals of every shape and form, with products to cater their needs. Both are actually places made to cater to his difficult and high maintenance taste; if you cannot find it, do it yourself. Those bars include their own staff, which he selects himself to make sure nobody he would find inappropriate works under his image. As for the hotel line itself, it includes its own staff, administration, underground administration and staff, restaurant staff and entertainment staff for diverse shows and parties thrown. This profile fits any muse which would frequent the red light district, from newcomers to others looking for a job, frequent visitors and owners of businesses. From the woman who runs an escort club with a heart of steel to the bartender who just wants to pay his education fees to the security guard who has nightmare about the noises he hears behind closed doors.

HITMEN. You were paid to fuck with him, but thing is it’s pretty complicated. This profile is picky since obviously the attempt is going to fail and you cannot always RP back and forth attempts. This would be nearly a comical bond with a need to plot a resolution depending on your muse!

SUBMISSIVES. Archer’s history as a dom was… infamous. Long story short, he was known to be good, but dangerous. With a more stable mind he wouldn’t mind going back to one of his favorite hobbies. The deal is simple; he owns the person obviously, no penetration sex, no deep kissing, no romance (which doesn’t mean no affection or love) and not to start screaming about it on the streets. Although he wouldn’t mind so much now to play by the rules, if allowed Archer will become ruthless, enjoying giving permanent marks on others and inflict gradually harsher punishments or rewards. This profile fits, well, masochists and submissives people, from any form and shape really (a victim is a victim) who are willing to give their body for a mutual game, be they be paying Archer or not. Very selective… because Archer is difficult. The way he treats your muse can be from pretty sweet to downward harsh… entirely depends on what degree he finds your muse attractive. Beware scars and broken parts. Sessions can last from one evening to a whole weekend.

MISC.I’ll add more when I think of them! DO THROW ME YOUR IDEAS LET’S GO.

Like with any interaction, relationships are officially in the singleverse timeline if it is roleplayed to a minimum extensively. Looking forwards to write with you!

#preest #long post #.saved

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thequantumqueer · 6 years

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hi sorry 2 bother u but would u mind explaining a bit more about how ppl in the military are victims? ofc no pressure only if u wanna I'm just curious to learn wht u mean

yeah definitely!

so it starts with predatory recruitment. military recruiters visit high schools and sometimes even middle schools to normalize the idea that joining the military is no different from going to college. almost none of those kids can actually join, but they try to sell them on it anyway with talk of how cool it’ll be and what a badass it’ll turn you into, and stuff like that. the army even has even put out three T-rated video games about army life since 2007, the most recent in 2015.

it gets even more intense in high school, when they start contacting kids directly. when you take the SAT and ACT, your information automatically gets sent to recruiters and they start sending you recruitment literature that blends in really well with the letters you’re getting from colleges suggesting you apply.

then, once people are old enough to actually join up, the recruitment pitch shifts to more tangible offers with little to no intention of ever following through. one of the biggest selling points is the G.I. Bill, but it comes with a whole host of terms and conditions that no one ever mentions, which often results in the benefits being mostly (or even completely) unusable for a lot of people, with just under half of servicemembers ending up using any of it at all.

they also recruit heavily based on the idea that your time in the military will translate into work experience and make it easier to find a job when you get out, but most military equivalents to civilian jobs deal with highly specialized equipment that makes the experience irrelevant, and you don’t get any certifications or equivalencies.

another big draw is Tricare, which is, quite simply, the best insurance in the world. What they don’t tell you is that your dependents get a shitty knockoff, and you also get kicked over to that shitty knockoff as soon as they determine that whatever’s wrong means you won’t be returning to active duty. they want to protect their investment as long as it can fight for them, but beyond that, you can go fuck yourself. and that’s to say nothing of the nightmare that is the VA, which is infamous for multiple-month wait times for even basic care, which is very often poor quality when you eventually do get it.

once you’ve actually joined, a few things happen that the recruiter never mentioned. first and foremost, you’ve entered into a contract with the united states government, which means that any breach of that contract is a federal felony. in other words, everything in this post from here on out is 100% completely and totally unavoidable without utterly fucking up your life.

the second is that you are now subject to two entire sets of laws that, most likely, you had no idea existed until just now. lots of those laws are standard federal law that only applies to military personnel (title 10, mostly), but the rest are called the Uniform Code of Military Justice (UCMJ). a lot of the ucmj is pretty straightforward stuff that you’d expect, like “it’s a crime to disobey orders” (Article 92) and the like, but there’s a ton of general conduct laws as well. for example Article 88 - Contempt Toward Officials, which says:

Any commissioned officer who uses contemptuous words against the President, the Vice President, Congress, the Secretary of Defense, the Secretary of a military department, the Secretary of Transportation, or the Governor or legislature of any State, Territory, Commonwealth, or possession in which he is on duty or present shall be punished as a court-martial may direct.

in other words, if you’re an officer it is literally a crime to criticize the government, even in private and even if you’re not in uniform. more generally, though, all military personnel have their political activity severely restricted by a combination of articles 10, 2, and 18 of us code, DOD directives, and military regulations. from this article, here’s a list of some things that you’re not allowed to do if you’re in the military:

Participate in partisan political fundraising activities, rallies, conventions (including making speeches in the course thereof), management of campaigns, or debates, either on one’s own behalf or on that of another, without respect to uniform or inference or appearance of official sponsorship, approval, or endorsement. Participation includes more than mere attendance as a spectator.

Use official authority or influence to interfere with an election, affect the course or outcome of an election, solicit votes for a particular candidate or issue, or require or solicit political contributions from others.

Allow or cause to be published partisan political articles, letters, or endorsements signed or written by the member that solicits votes for or against a partisan political party, candidate, or cause. However, letters to the editor are allowed.

Serve in any official capacity with or be listed as a sponsor of a partisan political club.

Speak before a partisan political gathering, including any gathering that promotes a partisan political party, candidate, or cause.

Participate in any radio, television, or other program or group discussion as an advocate for or against a partisan political party, candidate, or cause.

Conduct a political opinion survey under the auspices of a partisan political club or group or distribute partisan political literature.

Perform clerical or other duties for a partisan political committee or candidate during a campaign, on an election day, or after an election day during the process of closing out a campaign.

Solicit or otherwise engage in fundraising activities in Federal offices or facilities, including military reservations, for any political cause or candidate.

March or ride in a partisan political parade.

Display a large political sign, banner, or poster (as distinguished from a bumper sticker) on a private vehicle.

Display a partisan political sign, poster, banner, or similar device visible to the public at one’s residence on a military installation, even if that residence is part of a privatized housing development.

Participate in any organized effort to provide voters with transportation to the polls if the effort is organized by or associated with a partisan political party, cause, or candidate.

Sell tickets for or otherwise actively promote partisan political dinners and similar fundraising events.

Attend partisan political events as an official representative of the Armed Forces, except as a member of a joint Armed Forces color guard at the opening ceremonies of the national conventions of the Republican, Democratic, or other political parties recognized by the Federal Elections Committee or as otherwise authorized by the Secretary concerned.

Make a campaign contribution to, or receive or solicit (on one’s own behalf) a campaign contribution from, any other member of the Armed Forces on active duty.

Any activity that may be reasonably viewed as directly or indirectly associating the Department of Defense or the Department of Homeland Security (in the case of the Coast Guard) or any component of these Departments with a partisan political activity or is otherwise contrary to the spirit and intention of this Directive shall be avoided.

most of that list comes from DoD Directive 1344.10 (full text here) and while there’s plenty of stuff you can do, politically, but almost all of it requires you to be either anonymous or passive about it. so now it’s illegal for you to do anything substantial toward changing policy in any way, and possibly also to even so much as complain about the president or call congress incompetent.

so now that you’ve been properly restricted (and remember, the only way out of this without a felony is with a DD214 (discharge paperwork)) you’re put to work. on the surface, it seems like any other job, but there’s subtle differences. for one thing, literally every person who’s gotten more raises than you is your boss and you have to do whatever they tell you unless it conflicts with what someone who’s gotten even more raises than them already told you to do.

your orders can also be literally anything that’s not illegal. if your boss at starbucks tells you to always stand on one foot while you work the register, you might do it for like an hour or two, but then you’d stop bothering and if your boss got upset about it then that would be unreasonable. if your CO tells you to always say the pledge of allegiance in Farsi, then it’s your responsibility to learn how to say it in Farsi and always do so until that CO or someone above them give you permission to say it in english again, and if you don’t, that’s a crime.

what that means is that if you get assigned to recruitment duty, you can and will be ordered to look and sound excited about being in the military as you tell 13 year olds they should join up after high school, and you will legally have to do it.

and all of this is without even mentioning the missions. combat, and the act of killing another human being, are traumatizing even in the most ideal of situations. if someone breaks into your home to attack you and you push them back and something heavy falls on them and kills them, that’s still a traumatic experience for you. even legitimate wars for good reasons against enemies that really do need to be stopped are horrifying experiences for everyone involved.

but when the war is bullshit and most of the casualties are civilians and you know all this and aren’t even allowed to say anything about it, let alone do anything about it? that combines with combat to royally fuck a person up.

this is the part where everyone who’s read this far gets ready to jump down my throat about how the people being bombed are the real victims and not the people dropping the bombs, so let me remind you that this anon was in response to a post i made that started with the words “The US Military is […] evil” and that im not in any way trying to say that the troops get the worst of it, just that they are being used and abused by the system.

because remember, those troops have been groomed to be recruited since they were five years old and asked their parents why they got veterans day off from kindergarten, and have been pursued more and more actively all the way up through high school. the military lured them in, is chewing them up, and will spit them out when it’s done with them without giving one single fuck about them.

and no matter how you cut it, that describes a victim.

#the us military is my culture of origin #military personnel and military brats are my people in a way that no one else is #and for better or for worse nothing can ever change that. not even my realization that #fuck the military tbh #wild doge appeared. much wow

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ahouseoflies · 4 years

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The Best Films of 2019, Part II

Part I is here. ENDEARING CURIOSITIES WITH BIG FLAWS

106. Alita: Battle Angel (Robert Rodriguez)- I'm not looking at a list of films with budgets over $175 million, but I guarantee this is the one with the lowest stakes. It concerns a cyborg who tries to uncover the identity that the audience knows she has all along, and it takes place on three sets. I was intrigued by the prospect of Robert Rodriguez directing a James Cameron production, since the former uses effects to be lazy and the latter uses effects to challenge himself. Alita is more of a Rodriguez movie in that regard. Although it looks slightly better than those pictures he used to make in his backyard, it ain't by much. 105. The Upside (Neil Burger)- As good enough as movies get, good enough right up to the childish screenwriting contrivances of the third act. ("I guess he knows about wheelchairs now, so he gets a job at a wheelchair factory? Or maybe it's his own factory? I don't know--I'm still spitballing in this production draft.") Queen Nicole is criminally underserved though. Have you read that story about how Keanu Reeves's friend forged his name onto the contract for The Watcher, but Keanu didn't want to go through a prolonged legal battle, so he just showed up despite the fraud? Surely it's got to be something like that. Or maybe she was under the impression her character was still being fleshed out, but she got there and saw that nothing has been changed since the last draft? It's just like, "Yvonne looks stern. More to be added." I know for sure that no one told one of the greatest actresses in the world about the part in which she's supposed to be a good dancer. She would have prepared. 104. How to Train Your Dragon: The Hidden World (Dean DeBlois)- HtTYD is still the most visually experimental animated franchise. For example, DeBlois hazes the image when a character is looking at another through a torch, there's a five-minute wordless sequence of dragons falling in love, and a lot of work has been put into crafting peach fuzz. I also appreciate that these films retain consequences. Hiccup has a prosthetic leg, and his dad is still dead. Narratively though, everything feels like a holding pattern, a brand extension that doesn't offer real stakes or real laughs. (Fishlegs has a beard now. That's his character development. That's it.) Even if The Hidden World offers an ending of sorts to the trilogy, it's a story of retreat/escape that can't help but feel like a sideways step from its already disappointing predecessor. My daughter tuned out and got really restless with about twenty minutes left. 103. Greta (Neil Jordan)- Such a boilerplate thriller that I was actually predicting the dialogue at points: "Miss, I'm sorry, but there's nothing we can do if she's just standing there across the street. She's not breaking the law." There is one notable thing that happens though. In a scene at a church, Huppert makes the Sign of the Cross incorrectly. As an actress, kind of negligent. As a French person, pretty exquisite. 102. Anna (Luc Besson)- The timeline-jumping didn't work for me, but without it, I don't think there's much notable about the quadruple-crossing here at all. The awe-inspiring restaurant fight sequence is the film's saving grace; I'm awarding an extra half-star for its slashing-throats-with-plates viscera. 101. Captain Marvel (Ryan Fleck and Anna Boden)- Was I supposed to know what a Skrull was before this? Lee Pace and Djimon Hounsou show up playing Guardians characters, so I think I was supposed to connect more of the sci-fi dots of the first twenty minutes than I did. All of that inter-planetary stuff was tough sledding for me, and I preferred the Elastica music cue and Radio Shack jokes. As it turns out, especially in this genre, it's dramatically frustrating to go on a hero's journey with a character who doesn't know who she is. It was nice to see Samuel L. Jackson, with convincing de-aging effects, get a real arc in one of these movies, rather than just posing here and there. Brie Larson does enough posing for the both of them. 100. Frozen II (Chris Buck, Jennifer Lee)- Frozen begins with sisters being separated after one injures the other. It plays for keeps from minute five. Frozen II, whose smaller stakes are felt in the one-or-so location, B-team songs, and forgettable new characters, never feels as real. 99. Aladdin (Guy Ritchie)- Even if the songs still bang and Nasim Pedrad is very funny, Aladdin feels as cynical and--don't say it, don't say it--unnecessary as all of these live-action remakes do. I'm looking forward to the animated remakes of the live-action remakes, which might figure out a way to reincarnate Robin Williams. One can dream, even cynically. 98. El Camino: A Breaking Bad Movie (Vince Gilligan)- Finally, the TV movie--and no shade, but this ending we didn't ask for is definitely part of the TV movie tradition--that answers a burning question for Breaking Bad fans: Was Jesse ever interesting by himself?

97. High Life (Claire Denis)- As uncool as it makes me, I have to admit that I just don't care for Claire Denis's aesthetic. Knowing nothing going in, I was captivated by the mysterious first half-hour, but once the film started to explain itself, it seemed like a B movie with more ponderous music. High Life is effectively claustrophobic, but I found myself "yes-anding" most of it. Yes, for example, space is lonely, as I've learned from every other movie about space.

96. Where’d You Go, Bernadette? (Richard Linklater)- From the get-go, this movie doesn't work--structurally, tonally--but the miscalculations of Linklater and Blanchett and especially the mawkish music don't have enough consequence for the film to even fail on a noteworthy level. It's not unpleasant. You just laugh sparingly and think, on the way out, "I don't think she loved her daughter as much as she said she did" or "Get to Antarctica twenty minutes earlier or twenty minutes later." Linklater, an inestimable talent, has added an entry to his filmography that might as well not exist. Making movies, especially adaptations of epistolary books, is hard. I'm being too understanding of that or not understanding enough. 95. Dumbo (Tim Burton)- Just as Dumbo begins to take chances--fashioning itself as an anti-corporate parable with Keaton playing a Disney-esque "architect of dreams"--it settles back down to its own low expectations. Expectations that come from the storytelling and characterization and not the production design, which seems grandly practical except for the CG [rolls up sleeves, adjusts glasses, tightens shoes] elephant in the room. Of the performances, Farrell comes out on top, displaying Movie Star confidence despite very little to work with. (Can a World War I veteran who lost his arm and his wife be allowed a bit more pain?) It gives me no pleasure to dunk on child actors, but both of the kids seem to be reading their lines, and their monotones nearly sink the movie at the beginning. 94. Echo in the Canyon (Andrew Slater)- A nice enough introduction to the scene, but Jakob Dylan's constant presence as an interviewer and performer turns it into a vanity project. The film shuffles among talking heads interviews, prep for an anniversary concert, and an anniversary concert, and I'll let you guess which one of those is interesting. The access that the filmmakers got is impressive, but if a person didn't participate (Carole King is the obvious one), the filmmakers just pretend he or she didn't exist. 93. Diamantino (Gabriel Abrantes and Daniel Schmidt)- I like the notion of someone so specialized in his profession that he has a child-like understanding of the outside world, and Carloto Cotta sells the innocence of the title character. (The Donna Lewis needle-drop killed me too.) But too often this film feels as if it's focusing on sheer weirdness over satisfying narrative. Cult classics are fine, but you should try for the regular classic. 92. Ma (Tate Taylor)- There are some cool ideas here--the innocent entrees that technology provides, the way the movie earns its R rating. But the script needs a few more passes for everything to congeal past the silliness, especially with regard to the hammy flashbacks that attempt to provide motivation for the Ma figure. I respect the attempt to humanize a monster, but she would be more scary if left opaque. 91. Bombshell (Jay Roach)- The films that try explicitly to comment on our current social climate are never the most successful ones, especially if their internal politics are this muddled. The film takes great pleasure in implicating the toxic system of Fox News, taking shots at anyone who would participate. Then it starts to pick and choose who to like in that system, which is where it gets weird. Obviously, a Fox News employee who sexually harasses another employee is "worse" than an employee who gets harassed. But then the Charles Randolph screenplay starts to sort closeted lesbians and career-strivers, and it's not sure who the bad guys really are. The film moves quite swiftly in its first half, and Charlize Theron's mimicking of Megyn Kelly is eerie. But I don't think Jay Roach knows what he believes. The lurid, claustrophobic scene between Margot Robbie's composite Kayla and John Lithgow's breathy Roger Ailes is the transcendent moment. It teases out the humiliation slowly and powerfully. With a quite meta flourish, the scene makes you hate yourself if you've ever objectified one of the most objectified actresses in the world; she's that great at illustrating her discomfort.

90. Glass (M. Night Shyamalan)- 1. A great example of "story" vs. "things happening." A negative example, I'm afraid. 2. The Osaka Tower represents the literal and figurative highs that the film will literally and figuratively not reach. 3. Spencer Treat Clark back!!! 4. The flashbacks are actual deleted scenes from Unbreakable, which is amazing. 5. Not since Lost has there been a work that seems like obsessive fan service, but the fan in mind is the creator, not any member of the audience. We do not want your explanations about Jai the security guard's role in your universe, Night. 6. This is a sequel to Unbreakable and a sequel to Split, but it somehow does not feel like a third chapter of anything. 7. It makes sense that I watched this on the same day that I listened to Weezer's The Teal Album, their surprise collection of punctilious '80s covers. In both cases, there's an artist who was really important to me in formative years but who has used up the last of whatever capital he has accrued by giving in to his worst instincts. In Shyamalan's case though, at least it's a confident swing. The second act pretty much tells us that we were dumb to believe what he sold us on. Even though it's dramatically inert and completely stops halfway through, this is exactly the movie he wanted to make, which I stupidly still admire. 89. Five Feet Apart (Justin Baldoni)- I checked this out because I have the sneaking suspicion that Haley Lu Richardson is a Movie Star, and she is continuing to progress into that power/responsibility. Otherwise the movie is a by-the-numbers weepie that doesn't really have a new spin on anything but hits its marks adequately. I was surprised that Claire Forlani got neither a "with" nor an "and" card in the credits. How rude. 88. Pet Sematary (Kevin Kolsch and Dennis Widmyer)- I like the bleak dive the film takes following its second big twist, which is handled well, but there is a ceiling for an adaptation of one of King's least ambitious and most predetermined tales. 87. Wild Rose (Tom Harper)- So conventional that Jessie Buckley almost got nominated for a Golden Globe. 86. Judy (Rupert Goold)- Just as the leaves start to change, we get biopics like these: too earnest to be cliched, too safe to be original. I'm on the ground floor of the Zellwegerssaince, but Judy is a slog in stretches. 85. The King (David Michod)- Capable but superfluous. Animal Kingdom was nine years ago, so it's quite possible that David Michod, even when he has an imperious Ben Mendelsohn at his disposal, has lost the urgency. The reason that anyone should see this--at least until someone puts together a YouTube compilation of just his scenes--is for Robert Pattinson, whose take on The Dauphin is the frontrunner for Most On-One Performance of the Year. 84. Star Wars: The Rise of Skywalker (J.J. Abrams)- There are just enough moments--the first Force battle between Kylo and Rey being one of them--that remind the viewer of the magic of Star Wars. Kylo Ren's arc concludes in a more satisfying way than I expected, Babu Frik is officially my dude, and Daisy Ridley's post-Star Wars career intrigues me. My Dolby seat was rumbling, and I was pretty charged up on candy. But, man, most of the business here feels compromised, undermined, and inessential. It's a rushed connect-the-dots compared to The Last Jedi. There's a scene in which the gang has to risk wiping C-3PO's memory to gain important information--they need a thing to get to another thing to get to another thing--and there appear to be stakes for just a second. Then, as if to reassure the audience that there will be ten more of these movies, Rey adds, "Doesn't R2 have a backup of your memory?" That's the whole movie in an expensive, nostalgic nutshell.

83. Queen & Slim (Melina Matsoukas)- Capable of tender moments but shot in the foot by its episodic nature, Queen & Slim is the most uneven picture of the year. The characters work well as foils to each other, but Jodie Turner-Smith's performance is overshadowed by Kaluuya's. I have no idea what Chloe Sevigny and Flea are trying to do in their brief time on screen, and I have no idea what the film is trying to do when it disturbs the point of view for a misguided protest sequence. 82. Hustlers (Lorene Scafaria)- It has been a long time since I was so surprised that a movie was over. The coda comes up telling us about, in real life, what kind of criminal slaps on the wrists the characters received, and I got pushed out of the theater wondering what it all amounted to. Yeah, that's the point. I know. Just as none of the 2008 bankers went to jail in the wake of their destruction, none of the women who drugged and exploited them did much time beyond "14 months of weekends" either. But should I applaud moral confusion? Can I be angry about the lack of consequences for both parties? If you want me to judge the film I watched instead of the film I wanted to watch, I can be more complimentary. Some of the most electric moments in 2019 cinema are here, rooted in 2008 strip club music. And saying 2008 strip club rap was good is like saying 1890 French Impressionism was good. Nearly every performance works, from Lili Reinhart's bashfulness to Wai Ching Ho's gratitude to Jennifer Lopez's intractable confidence. Also, I don't know if anyone has noticed this before, but J. Lo has a nice butt. 81. The Report (Scott Z. Burns)- There are some interesting things going on here. For example, this feedback loop: An hour or so in, protagonist Daniel Jones watches a fabricated news feature that explains what waterboarding is, and I had an instinct as an audience member to go, "Like we don't know by now. Don't hold my hand." But the only reason I know is because of news reports like that, informed by work that the real Daniel Jones did, dramatized in the events of the first half of this very movie. Still, this movie is a lot like one of those dishes in which every single element sounds like something you would like--"Ooh, pork belly, delicious. Oooh, lemongrass. Bet those would go well together"--but you take a bite, and it doesn't taste good. Is that your fault or the restaurant's?

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nerfarmourer · 7 years

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Nerfing Theory: Squad Level Gear, Tactics & Integration with a Varied Player Base

This post with thanks to BritNerf users Franksie, OldNoob and blindgeekuk who all helped me bounce ideas around.

With the advent of various specialised ammo types at Bristol Blast and preparation afoot the Battle of Britain 2017, I got thinking about about squad level stuff. This all assumes 0.50cal Elite sized darts, Rivals will shake things up a bit.

Currently, we find ourselves approaching the game like a militia. Everyone provides his or her own equipment, piles in and plays. Generally speaking, there will emerge squad and team leaders during games and stuff is a lot of fun. There will always be the space for the person that rocks up and goes ‘charging into a line of opposing players with just a Jolt and a sock bomb? Why not?!” and that cannot change.

However, more experienced players can widen their utility by forming squads and spread the load of ammo carriage by lending a hand. With special rules in place like rockets breaking shields or even when you just need a little extra fire power, squad based ammo carriage starts to make sense. Back in WW2, British soldiers in a section used to carry 2 magazines for the squad’s Bren gun. It meant the Bren gunner (for those that don’t know a Bren is an LMG designed for support fire) didn’t lug all of the ammo. If the Bren gunner got shot, it saved time pulling mags off of him to return the weapon to service and shared the burden between squad members. Well, the British call them sections but there you go.

Functionally, the basic Nerfer is a rifleman. You’ve got semi-automatic blasters, mag fed and ready to go. The focus is on having as much ammo on board as possible. You might get the odd RS user and they can straddle the rifleman/heavy line. The role of the rifleman is to be the backbone of the team. They advance and shoot with blasters that are up to the game’s legal FPS limit, generally making themselves useful.

Then you have the heavy gunners. Sometimes when clearing a room or corridor, you’re going to need a stream of continuous darts to encourage the opposing team to keep their heads down. For this, I think that each member of a squad carries a 25 round drum to pass to the heavy when he goes from rifleman to heavy mode. If the squad leader calls for suppressive fire, out goes the 18 and in goes the 25 (initially using his own carried 25). When the 25 is spent, it’s returned to the squad mate who’s job it is to reload it. When not in suppressive mode, the heavy will top off his own mags and the 25 drum he is carrying for himself. The social contract here is that the heavy provides fire, loads his own carried supply and in exchange for help from his squad mates that keep their supplies loaded and ready. More on social contracts later.

Shields, Terminator zombies and the like require special ammo. Compared to Stryfe clones, Demo rockets and similar capable blasters are scarce on the field. They also take up a great deal of space that could be reserved for more magazines and .50cal Elite darts. To that end, again, each squad member carries a small number of Demo rockets and MEGA darts to hand over when the time comes. You have a designated squad grenadier who’s job it is to bust shields and the like. The rest of the time he is a rifleman like everyone else.

Discussion of Designated Marksman did arise and I don’t think it’s necessary. Given that a properly balanced flywheel blaster shooting X-Tips taken up to the limit of most UK games will be be reasonably straight shooting there’s not a lot of reason to have a DM in your more committed echelons.

That brings me to player behaviour and more on social contracts. Nerf wars are amazing for the breadth of people they attract. Everything from sneaky 8 year olds that run away from you luring you down into the jaws of the two 0p3r4t0rz with Stryfes to the dads that rock up with a mid-level modded springer to guys like me who have the full nine yards including radio, camera and enough fire power to level a continent. The thing to always remember is that you’re here to have fun. Winning is incidental. How you have fun is different to the guy with the Jolt charging an enemy line on his own. The social contract is ‘let people have fun in their own way’. If people want to link up and join squads, great but you can’t tell people they’re doing it wrong if they don’t. If you find a member of your team has latched to your squad then awesome. Teach them, show them how you play and if they find that fun they’ll stick around. Otherwise, they’ll wander off and find another way to have fun within the framework of the game. If you’re looking to start directing your team then remember the fundamental thing: they’re here to have fun slinging foam. I find the most effective way to organise players that aren’t attached to squads is to direct them as they respawn. A simple instruction like ‘There’s a lot of guys on the left, go tag ‘em’ or ‘Our guys in the corridor could use some help’ will often send younger players scurrying to assist. Once they get there, they’ll find plenty to shoot at and do their thing. You can then direct your more experienced squad leaders as you would expect.

Encouraging new and younger players not to fall back in the face of the opposing team is also key. Between setting the example by standing your ground and words of encouragement “They’re not so tough” and general friendly trash talk, you can put the wind back in team mates. Showing them that getting tagged is nothing to be scared of is key. They can get more tags facing the opposing team and shooting at them than with their backs turned. Players that are organising squads like this will need to set the example and foster the a community spirit. Separating and ignoring those that play differently is at best unhelpful and at worst elitist and toxic. Again, social contract: you have fun your way and help people have fun in their way.

A word on Rivals and general technology:

A lot of what I’ve covered up there is specific to 0.50cal Elite darts. Some alterations can be made for including a Rival heavy gun instead. For example, each team member could carry a hopper for the Nemesis or a Khaos magazine. There is also an argument to be made for fire control modules on the heavy blasters. Less experienced players tend to struggle with SA fire discipline on FA blasters. By locking out FA when their blaster is in rifleman mode, it opens the field to lowering the threshold to entry/raising the effectiveness for players who want to play in that area. Training and teaching can then be given to reduce the reliance on fire control modules until it’s no longer needed.

I think that covers everything I wanted to discuss on Squad Level stuff for today. I’ve generally rambled about sharing specialised ammo types and how to play a more focused squad in a varied player base akin to the one that we get at Bristol Blast. I think future articles will cover effective squad leadership, radio communications and basic tactical doctrine.

#nerf

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benildenewsformmwrite-blog · 6 years

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Interview with an intern

The following is a transcript of an interview of a CSB student who had his OJT abroad and his really bad but sometimes good experiences in the US.

P is the interviewer, and A is the interviewee.

P: Okay then, let’s start. So can you tell me a bit about your professional background?

A: Well, I just finished my internship in the US. 1st 6 months was in a ski resort in Vermont, next 4 months was in Michigan.

P: Where did you go to school?

A: De La Salle – College of St. Benilde.

P: Do you have any prior work experience?

A: No I do not.

P: So what where your expectations working abroad?

A: I mostly didn’t really bring a lot of expectation there so I wouldn’t be disappointed if it was bad, and I’d be pleasantly surprised if it was good. My only expectation there was that I’d earn more money there than in the Philippines.

P: How did reality differ from your expectations?

A: It was VERY different. In Vermont, it was mostly the same, you know, snowboarding and skiing after work, fun times, making friends, but that’s when the expectations stopped.

P: What do you mean “That’s when the expectations stopped”?

A: I mean it stopped being similar to what was actually happening, because after I went to Vermont, I went to Michigan; and Michigan… I was expecting it to be this super nice place, it has a good reputation, and… just overall happy fun times like Vermont but even better except without the skiing and snowboarding. But that was quickly shattered when first of all, they broke the contract several times when they weren’t paying us the right wages, like from 9 dollars an hour to 3 dollars an hour, and then they were cutting our hours so we were doing – especially the 1st 2 months when the other interns from the other countries haven’t arrived yet there were only 4 of us in the main dining room catering to 400 up to a thousand guests at a time. Imagine there’s only 4 of you assisting all the servers serving a thousand guests. We had to cover the lack of staff so, we would leave at 7 in the morning and we would go home at 12 midnight.

Now you’d expect, at 9 dollars an hour you’d be, you know, you’d be breaking the bank, you’d be making a lot of money, but then the pay check comes, and you only have 400 dollars which is a very gross underpay when it’s supposed to be 2,000, reduced to 400.

P: Okay, I’ll ask you about that more in a while, but first can you briefly describe how you got an internship in the Grand Hotel?

A: There’s a program in the DLS-CSB’s HRM course, it’s called “ITN”

P: Which stands for?

A: International Training Network. It’s actually a travel agency that’s affiliated to Benilde which handles all the J1 Visa applicants. The J1 Visa is a cultural exchange Visa. Basically, you have 2 choices when doing your final practicum in the course, it’s either do a local training, or you can go abroad and sign up with ITN; that’s how I got it.

P: So you chose the Grand Hotel?

A: No actually, it’s something ITN offered us called the “6-2-6 Program.” You choose a hotel first that you wanna sign up for. Normally, they show you if it’s 6 months or a whole year, if it’s a seasonal hotel for example, because Vermont, the one in Vermont was a ski resort so obviously, they’re not open in the summer because there’s no snow, cuz it’s not winter. So they’re only open for 6 months and for the people who chose the hotels open only for 6 months, they give you a choice whether you go to another hotel or if you wanna go home right after, and I chose the other hotel. The thing is, they just told us to just give them our resumé and they’ll just check once someone accepts us; we don’t really get to choose the 2nd hotel.

P: So can you provide a summary of your experience with your superiors in Michigan?

A: Well in one word, it was trash. They treated you like you were a tool – I mean some of them were nice like, were actually pretty cool but like the Jamaican guys were huge a-holes basically

P: All of them?

A: Most of them. They were super rude. SUUUPER rude. Not nice at all. Like imagine someone having an even lower rank than you telling you stuff to do getting mad if you don’t follow them. Basically, they’re just not nice people. And since they’ve been there longer, they assume that they’re your seniors and that you have to do what they tell you.

Aside from not paying you properly and cutting your hours, you know, being treated like shit, it’s not really a nice experience.

P: So can you describe your reaction to this treatment? Like what did you do?

A: Well at first, you know, I tried to cope with it, I tried to you know, find ways to get along with them even though they’re being rude and – but when I found out that they were cheating me of my money, I was like, nope. You can call me names all you want but the moment you steal money from me, I don’t like you and I don’t wanna get along with you. And that’s when I started to not be agreeable with them anymore. When they’d irritate me, I’d fight back or I’d answer back at them. Basically.

P: Did you ever try to tell the HR?

A: O yeah they’re useless, they’re completely useless. Basically they tell you – you talk to 1, when it’s about a problem with the hotel they basically refer you to another person. For example, you come to me, I’m HR, I’m gonna be like, alright not my job talk to this guy; and then you go talk to that guy and that guy’s gonna do the same thing and you just gonna run in circles basically. Because they don’t wanna solve the problem, ot because they don’t know it’s there but because they do. Because solving the problem would mean not getting an extra cut of the money. They’re basically crooks.

P: Who gives you your payslip?

A: The payslip comes online, basically it’s emailed to you. They way they pay you is every 2 weeks but it’s delayed a week so you actually get it on the 3rd week of every month. You get hours right? You clock in and out; and the time sheets go to your manager and that’s when they start cutting hours. Regardless of whether you worked a hundred hours this week or 40, you get the same pay if the manager says you’re gonna get the same pay.

P: Do you work overtime?

A: ALL the time, because – that’s the thing – another legal thing they’re doing: Forced Overtime. Do overtime, or you get fired. You’re basically doing AWOL if you don’t do overtime so you’re gonna get fired if you do it too many times so you have to do overtime.

P: Did you ever try asking ITN?

A: Not ITN, Intrax

P: What’s Intrax?

A: They sponsor people, basically. ITN just sends you out, Intrax is the support.

P: What did Intrax do?

A: They didn’t really believe me

P: Don’t you have your payslips?

A: Yeah but you can easily say that – because the evidence, the payslip, says that I DIDN’T work that many times. You get it? That’s the problem they EDIT the hours

P: What about other interns?

A: It’s been happening for a while, it’s been happening for several years actually. You know the servers there actually have to lie to customs? Grand Hotel makes them lie that they’re getting paid 11 dollars per hour but they’re actually getting paid via ticket.

P: Ticket?

A: So the way they sell the dinner and lunch and breakfast is they sell you tickets. A lunch ticket, a dinner ticket; each ticket has it’s own value. I think breakfast and lunch is a dollar and dinner is like a dollar ninety or something? Each ticket is worth that much so if you didn’t get any guests, even if you worked the whole day, you won’t get paid anything.

P: So can you describe how the other interns reacted to that?

A: Well obviously everyone hated it. Some people were getting – if the boss likes you, you get paid, if the boss doesn’t like you, you’re not gonna get paid a lot. One girl there was getting paid a thousand dollars a month because the boss liked her. The moment he found out she had a boyfriend, that dropped to 500. She was doing the same hours. Does that make sense to you?

P: How has this affected your view of working abroad?

A: Well, contrary to everything I just said, I think this actually helped me, you know? Since I already went through a lot of bad stuff there, I think the next time it happens, I’m gonna be able to deal with it better. So it’s a nice learning experience for me.

P: So you’d still work in the US?

A: Yeah, but I’d be more careful in which hotels I choose to work next time.

P: What advice would you give to younger batches of SHRIM/CSB students planning to take internships abroad?

A: Well 1st of all, if you’re picky about stuff, about hours, about things like that, don’t work there; because working in hotels there and working in hotels here is very different. It’s fast-paced there. And I have worked in a hotel here, it’s WAY slower, way slower. And lower your expectations – not to say that the US is a bad place, but people with exceedingly high expectations often find themselves disappointed I guess. And be brave about those things. Like, if you’re not getting paid fairly – see, a lot of the people, the reason we weren’t able to – the reason they didn’t care enough about our case is that there weren’t enough of us complaining. They were like, “o you’re just not doing your job why isn’t it that case for everyone else then?” You know? So, be brave about those things, if you not getting paid, speak up, cuz if you don’t, nothing’s gonna happen. Don’t worry, the government will protect you if you do decide to speak up.

P: Okay thanks.

Extra questions asked after the interview:

P: Ano yung grounds for dismissal mo?

A: So, I called in sick a couple of times, I told him, he said, “okay.” After several times, HR calls me and asks me why I went AWOL. Turns out he wasn’t telling HR that I was leaving so I got written up and got fired.

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