Musculature anatomy chart unlabeled

[Discussion] Red Seas Under Red Skies by Scott Lynch, Reminiscence: By their Own Rope to Part 1, Chapter 7

2024.05.16 21:52 thebowedbookshelf [Discussion] Red Seas Under Red Skies by Scott Lynch, Reminiscence: By their Own Rope to Part 1, Chapter 7

Red Seas Under Red Skies by Scott Lynch, Reminiscence: By Their Own Rope to Chapter 7
Welcome back to Tal Verrar, where the artifice is real and the pirates are fake. Let's see if we know the Gentlemen Bastards’ business this week.
Summary
Six months since the last Reminiscence, Locke has locked up the mysterious chairs and is with Jean in Vo Samara. Jean brought rope which was secured around a thick tree trunk. They're practicing getting to the vault. They used harnesses and a safety line to rappel down the cliff.
Someone calls down to them from the top. He'd steal their coats and chop the ropes. He was a highwayman always on the lookout for people to rob. He called them heretics and cut one of Locke’s lines. Jean tried to throw a knife at him, but only the hilt hit. Then the thief fell off the cliff onto Locke’s harness. Jean grabbed the bandit by the hair, and Locke held a knife to his throat.
His name was Trav, and he was unemployed. Jean made it up first and hauled them up. Locke berates the incompetent thief. He left a purse of silver for him. He could be helpful to them later if he remembered their kindness. It had been eighteen months since anyone tried to kill them.
In the present day, they eat breakfast at The Gilded Cloister. They discuss the attack last night and who might want them dead. Merrain is dressed as a waitress and hands them a bill and a note to meet where they first met. They are on their guard all the way there. They enter an abandoned shop where four men in gray cloaks and hats wait for them. The four men are decoys. Jean and Locke don their own cloaks and hats and get in a carriage.
Merrain is already in their carriage. They will head to the docks. They hoist themselves into a boat filled with rowers. Merrain is the coxswain. They enter the Sword Marina and the stone walls of the bay. A man meets them there and says it's a fool's mission. He's Caldris the ship's master. He leads them to a dinghy in a “pissing-pond” for practice. Stragos had tricked him with poisoned wine, too, so he “volunteered” his services.
Every ship must have a woman officer and a cat for luck. They have a kitten but don't need the woman yet. Caldris cut their palms with a knife and put a slice of bread over it as part of a ritual to the deity Iono Stormbringer. They practice rowing for hours. He bet them that they would capsize, and he won.
Locke is exhausted, but he has to see Requin and give him the chairs and tell him of the voyage. Merrain almost didn't let him go. After two hours, he and the chairs go to see Requin. He waits at the service entrance and pays a servant to get him Selendri. She used to be an Eye of the Archon before her injury.
Requin loves the chairs. Locke says he won them in a card game. He tells Requin that he'll be away for a while to find a lockpicker named “Calo Callas.” Requin makes him promise to tell him of any more plans right away.
They learn how to use a Verrari/Camorri quadrant (sextant) among other navigational instruments, books, and charts. Stragos and Merrain pay a visit to fit his uniform. He must look the part of a Captain at least for a day.
The ship The Red Messenger is in the harbor one day. It was seized from a man who tried to smuggle in stiletto wasps. The enormity of his task hit Locke as he boarded for the first time. Two weeks of training had prepared him to climb the ropes to the mast and sails. Caldris was feeling his age as they climbed down. Luckily the captain and the master stay on deck.
Jean found Locke in a sailor’s bar trying to get drunk and forget anything nautical for a night. (Wrong place for it.) Six watchmen entered and caused tension. The bar patrons were hostile, so one of the watchmen left some money for a round on him and all left. Locke and Jean give their free dark ale to a dockworker woman. The woman was choking and gagging. One the bar workers had put some poison (and not salt) in the drinks!
A ship leech used Locke’s stiletto to perform a tracheotomy on her so she could breathe. It was too late, though. The barkeeper accused the doctor of killing her. The other sailors demand he apologize. Then he drank some ale to prove it wasn't deadly. Jean asked where the second assistant was. Authorities would be called, so Jean and Locke made their exit. The free ale was a cover, and the watchmen were used by someone trying to kill them. The Priori did it.
Jean catches a man in the alleyway. He's an Eye, but who can be sure anymore? They want him to send a message to Merrain that they need a place to stay and protection.
They check out of the inn, and Locke sends a note to Requin. Caldris is even harder on them in his training. All three devise hand signals for when they can't speak among the crew. Caldris and Merrain are impressed by Locke's acting prowess.
Later on, Locke and Jean knock out a guard with a hood full of a sedative. A tower is their destination. Stragos had brought one of his own ships for them to do a demonstration. They sail to Windward Rock where a prison tower stands. That's where Stragos locked up the other Captain for stealing and treachery. He says that this Captain is Locke.
In the tower, Locke hands his papers to a woman who shows them to the lieutenant behind a desk. His pseudonym is Orrin Ravelle. He and Jean are there to see the prisoners. They both attack the guards. A poison called witfrost will put them asleep for the night.
Stragos tells Locke about Highpoint Citadel Gaol and Windward Rock. He has arranged for Ravelle to have a paper trail. He will find his crew in Windward Rock. The prisoners were in one large cell. Locke tells them that he chose them to be his crew. (Stragos chose 44 and made their lives miserable so they would want to leave and be on his crew. Four were women and got too sick, or so he said.)
Locke promises them equal shares of any plunder and freedom from the hell cell. They clamber to join.
Caldris had a bad feeling about the voyage if there won't be any women on board and no basket of cats.
Prisoner Jabril is made acting mate. Two younger prisoners row a boat out to a bigger boat. They all board and sail to the Red Messenger.
Merrain had hidden nearby, and after they all left, she snuck into the tower and killed the guards except the two on the top floor.
Locke pretends to knock out the guard on the ship. Duties are assigned. The guard is placed in the smaller boat. Some of the men were on the ship before and were assigned topmen. So starts their voyage. Locke was having fun playing the part of rogue Captain.
They sight sails on day three, but it's too early to be pillaging. Locke orders them to practice archery. Caldris estimates that they'll make it to the Ghostwinds in two weeks.
The crew drank and partied, playing knife throwing games. Locke saw bioluminescent ghostly things called flit-wraiths. Caldris had seen unbelievable things out on the sea. Two of the islands’ populations were destroyed: one by fire during a war and one by some kind of monster from the jungle.
The crew notices there are no cats. Locke had forgotten them on shore. (Uh-oh!) He tells them they're shy and hiding. Caldris is tired and gets little sleep. He is pissed off that there's no cats. The crew will mutiny if they find out. They'll have to fight another ship just for the cats. (They better hope it rains cats and dogs.)
A storm is brewing. The crew ready the ship and its supplies. Locke and Jean spend rare time alone in the stern cabin. Caldris feebly knocks at the door, and has a heart attack. He dies just as the storm hits. (Double uh-oh!)
Extras
Marginalia
Parts of a ship
Ship's cats
Ship's cats in hammocks
St Corella’s fire is actually St Elmo's Fire.
Larboard used to mean left.
Navigate back here May 23 for Part 2, Chapters 8-11. Questions are in the comments.
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2024.05.16 13:37 Gangiskhan Artist #95 Róisín Murphy

Bio from The Festival Voice
Artist Biography by Daniel Karasek
Róisín Murphy is a Dublin-born solo artist who dabbles in art pop and experimental music. When she was 12 she moved from Ireland to Manchester and remained there after her parents returned home to Dublin four years later. While on her own at age 16, she joined a post-punk band with her classmates. In 1994, she formed the electronic pop duo Moloko with producer Mark Brydon whom she had met at a party. The duo earned acclaim with a variety of releases from 1995 to the early 2000s. In 2002, Moloko split up with Róisín relocating to London to work on her solo career. She started using non-musical items like notebooks to craft sounds for her recordings, resulting in the EPs Sequins #1, Sequins #2, Sequins #3, and the 2005 album Ruby Blue. The album took inspiration from the experimentalism of Outkast’s Speakerboxxx and early 20th-century vocal jazz. The album reached number 88 on the U.K. Albums Chart and was featured in U.S. shows like Grey’s Anatomy and So You Think You Can Dance. In 2006, Róisín signed to EMI and started working on her second album which arrived in 2007 titled Overpowered. The album reached number 20 on the U.K. Albums Chart. Throughout the 2010s until the present day, she has released charting singles and albums and has been nominated for Ireland’s Choice Music Prize and the Mercury Prize.
 
Genre: Dance Pop, Art Pop, Experimental
Scheduled: Thursday
Songs & Sets:
Róisín Murphy Boiler Room x Róisín Murphy
Róisín Murphy - 'Two Ways' (Official Audio)
Róisín Murphy - Overpowered (Official Video)
Róisín Murphy - 'Fader' (Official Music Video)
Have you seen Róisín Murphy before? Please share your experience and favorite songs.
 

Days Until Bonnaroo: 28

Remember to drink water and warm up those high fives!
 
Link to previous AotD post
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2024.05.15 21:32 spoonskittymeow 32F, G1. Please help me translate this note in my ultrasound report.

32F, G1, EDD 8/30/2024. Am a registered nurse with research and ED, ICU, shock trauma experience, so this is way out of my wheelhouse.
I've done the 20 week anatomy scan twice and had poor visualization of the brain/heart both times. My OB is referring me to a MFM MD for a level III ultrasound, but here was the note in my chart about my last ultrasound. I feel kind of silly asking this, but can someone translate this for me?
"poor visualization-poor brain detail-lt lat vent is up nlpoor heart vis-need lvot and 3vv-grossly nl/up nl fluid/good growth"
Thank you in advance.
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2024.05.14 17:42 AnkiHubOfficial 👑 AnKing Step Deck Update #5

👑 AnKing Step Deck Update #5
Check out the update here: https://community.ankihub.net/t/anking-step-deck-update-5/222542
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👑 AnKing Step Deck Update #5 (April 13th - May 14th)

Hi everyone! 👋
Hope you are all having an amazing month!
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❓Question Banks

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The list above does not include the 1000s of spelling, grammar, formatting, image, GIF additions and changes the community (you all) have submitted!

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🎨 Illustration Projects

@beejumm and @ianthebfg created some gorgeous illustrations to aid in your learning! Check them out:
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🫶🏼 Community Shoutouts

A few community members were outstanding with their suggestions this month and we want to highlight their dedication!
Top 5 community members with the most suggestions accepted in the last 30 days:
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Thank you to everyone who submitted a suggestion this month!

👨‍🔧 New Maintainer

We’re happy to announce this month’s new maintainer! This user has dedicated a ton of time submitting helpful suggestions for content changes/tag additions and general deck improvements. Please give a warm welcome to:
  1. @DillingerMed 🎉

📣 We Need Your Input!

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❓Poll of the Month

Recently, we have started adding video hyperlinks to the extra section of certain cards, typically under a minute long, illustrating certain various physical exam findings. Some of these include:
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https://preview.redd.it/vh6s3henwe0d1.jpg?width=2862&format=pjpg&auto=webp&s=fdfa04d3888ca856edf98cd0d0f0dc99a853b11f
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👋 Wrapping up

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2024.05.13 17:46 Thick-Celebration-27 Kind of Non trad, need help with content..

Hi there, I finished my first year of undergrad and wanted to give the MCAT a shot since it was unlikely I would be able to get a great work position or research job this summer anyways. I test 9/14, and, my program is a Psychology based program so I don't have many prereqs. I have taken intro psychology, sociology, biology, and anatomy and physiology so I know roughly 80% of P/S and about 75% of the Biology section in B/B other than that I took Physics and Gen Chem in high school but really struggled.
I spent the last week doing 2 chapters per day of Kaplen (Organic chem, physics, gen chem, and biology) along with the milesdown anki deck but I am finding I am not learning much and I am not able to apply to questions. I want to be able to move onto UWORLD and AAMC material by early-mid July at the latest because I know practice will be key but I need to learn the content as well.
I then started to try to figure out how I can essentially 'cram' the content within the next 4 weeks for all the sections but I do not know how to approach the studying. Notes and charts do not work for me at all. Videos sometimes help but it depends on the video.
How should I approach content review for B/B, and C/P?
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2024.05.11 22:21 shrekedyourlastshrak DAT Breakdown: 30 TS, 29 AA

DAT Breakdown: 30 TS, 29 AA
Hi everyone!
I have been looking forward to making a breakdown for a while now after reading so many while I was studying. I took my test this morning and was really shocked to see the results!! :)
Here’s pretty much everything I did for each subject and how I thought the test was. I’ll also post my practice test results as a comment.
Resources: DAT Booster, Youtube (Chad’s Prep and a random assortment of videos based on what I didn’t know), DAT Bootcamp’s 1 Free Full-Length test, Anki (only for a few weeks to fill in gaps- booster’s deck for bio, skipping most of Diversity of Life), 2007 & 2009 ADA tests (sciences and QR only), DAT Booster’s Bio Crash Courses I, II, IV, Khan Academy for SAT/high school math practice problems. (My #1 resource though would be Booster’s practice tests 1-15 taken under timed conditions)
Preface: I am not a STEM major and I have taken Gen Chem 1, Gen Chem 2, Orgo 1, an intro molecular biology course, an intro integrative biology course, Anatomy, and Physiology. I’ve always liked reading, but I last took a math class 4 years ago and I was never great at math D:
I studied for 4 months from Jan 17- May 10th while doing 13 credit hours and doing 8-14 hours of research, volunteering, and work each week. I studied for 2-4 hours a day in the first month, 3-6 hours a day in the second month, 4-6 hours a day in the third month (mostly around 5?), and 4-6 hours a day in the fourth month with 6-8 hours a day (mostly 7-8 hours) in the last two weeks before my test. I was overwhelmed at first and I didn’t have a strong background in any section except for Orgo 1 and Gen Chem 1, but I really started getting used to the material around month 2. I used Booster’s 10 week schedule for my content review phase (1st month) but I didn’t get everything done in the schedule every day. I ended up making my own schedule for the rest of my time studying after taking into account what people were saying on breakdowns and what Booster’s schedule had. I only took one day off to relax in the last month of studying, but I took maybe 3 days off in the first two months because I was cooked from other stuff - so not really to relax lol
Bio: I watched all the DAT Booster Videos while taking notes to make sure I was engaging with the video, read through Feralis’ expanded notes and took notes on them, went through like 20% of Booster’s questions in bio, used Anki for like an hour a day for 4ish weeks, read through the cheat sheets near the end of my studying, and constantly reviewed and kept tabs on what I didn’t know. I also attended 3 crash courses for bio near my test date. I didn’t think the crash courses added too much to my knowledge but they were a nice review. If you’re already solid in bio (scoring 22+ in bio maybe and feeling good?) you don’t really need them. I read like 6 cheat sheets a day 1.5 weeks before my test. I personally also like making review sheets of info I don’t know every when I study, and I found that worked very well for me to understand the most complicated topics. I made notecards but I never reviewed them. I was overwhelmed at first, but you really just have to grind through the info and keep reviewing what you don’t know so it sticks. It is extremely doable to do well in this section!! Please don’t feel discouraged if you’re not scoring well while you’re studying.
Gen Chem: Watched all DAT Booster’s videos, took notes, went through all the questions in the question bank 2x plus the marked questions once more before my test. Went through all of Chad’s videos super fast before my test. Supplemented studying with YouTube videos throughout studying. And I made a bomb review sheet for the stuff I didn’t know to keep reviewing. Memorize all of the equations in Booster’s sheet and also know the necessary units for each equation! In my opinion, what absolutely needs to be memorized for this section are the formulas, periodic trends, characteristics of solids/liquids/gases, various rules/laws (gas laws, rate laws, solubility, trends with acidity, etc.). If you have these down, you’d be pretty set from the beginning! :) I was really nervous for gen chem because I wasn’t solid in gen chem 2 material related to acids/bases and it felt like there was so much material and so many minor rules to follow, but it will come if you keep practicing and reviewing.
Orgo: I did well in my college Orgo 1 class and I just kind of like Orgo! But I didn’t take orgo 2, and I was going crazy at first because there were so many different/new reagents and reactions. Also I forgot a lot of orgo over winter break but it came back fast. I went through all of the question banks, marked questions 3x, watched YouTube and a few of Booster’s videos on unfamiliar reactions/reagents. Again, I continually made review sheets of stuff I was weak on. In my opinion, what needs to be memorized is acidity/basicity, C NMR, H NMR, IR ranges, basics of elimination and substitution, carbocation trends, lab tests and experiments (like extraction and TLC), and whatever reactions you don’t know. Keep tabs on new reactions and reagents that pop up when you study and you’ll start understanding trends/filling in your gaps.
PAT: I was worst at angle ranking and keyholes. I made sure to practice PAT almost every day and under timed conditions every other day. One thing I did while studying that I really liked was what I called 60 in 35. I would do 10 questions from each section in Booster’s question banks (and later generators for angles/pattern folding/cube counting) in 35 minutes. Timing was never an issue for me because of that I think. Also for cube counting, I didn’t love the T charts because I found that I would lose track of what cube I was staring at lol. I just went through a row/line of cubes and wrote down how many sides each had. I was consistently getting 15/15 for cube counting with that strat, so if you don’t like T charts, try that! I found that pattern folding and TFE got way easier with practice, and try to get 15/15 for cube counting and pattern folding every time.
RC: I liked reading as a kid which helps with speed a lot. I liked search and destroy and I did that with every question. I did all of booster’s practice banks and after the first month, I only “studied” RC with doing sections in full length tests. Something I realized later on is that every single question’s answer is either explicit or implied. If there’s a unique phrase in the question, it is almost guaranteed that those words will be in the passage word-for-word. They do try to trick you with numbers/statistics quite often, so approach them with caution!
QR: I am not very good at math, but I made sure to practice QR as often as the sciences. I also found a lot of free general math questions from Khan Academy. I would suggest memorizing the formula sheet early on so that you can apply formulas to different situations ASAP. I did all of the question banks a few times over I think. I also almost repeated all of the practice test sections and made sure to fully understand what I got wrong.
My #1 recommendation for every section is being honest with yourself about what you don’t know and to constantly keep tabs on that stuff. Be super disciplined and you’ll see it pay off. In whatever way, just make sure you’re constantly working to improve your knowledge so that everything is consistent on a high level! I did this mainly with my cheat sheet strategy, but that’s just what I did. You know yourself best and you should believe in yourself! As long as you see improvement or feel improvement, you’re doing something right!
Test Day: I think I got like 3 hours of sleep the night before and I wasn’t sleeping well all week. I was feeling pretty anxious about the DAT every day the week before the test, and especially on test day :( I was also super stressed during my exam and I was constantly worried that the software would bug out or my test would be invalidated somehow. Also it didn’t help that one of the workers told me I wouldn’t able to access my locker during the break and I was stressing about that until the break when I asked another worker and they said I could. I was like bruh really. So I was feeling really terrible during the test and I was worried, stressed, and hungry lol. So I would say be mentally prepared for test day to be stressful, but remember that it will probably be 100% fine and that stress eats into your success.
The test itself was similar and not similar to the practice tests I had taken. The most similar to booster was the PAT section and the orgo section. Both felt like taking another practice test. GC seemed slightly easier, and there were no super long questions. Bio was WAY easier than a booster practice test! I saw a BUNCH of repeat concepts and there were no questions that threw me off. It was evenly distributed in all sections. I would say that before the test, I felt solid in 90-95% of the high-yield content for each section, and the test really does mainly only test you on the high yield stuff the prep software talks about. I made like 3 educated guesses in bio, 2 in orgo, and maybe 1 in gen chem. I finished the sciences with 35-40 minutes left and I was able to check over every question. I found 2 mistakes I made in gen chem and I changed an answer in bio! I had a 22 paragraph passage in RC, but the questions they asked and each passage was similar to Booster. QR was a little bit different than Booster’s QR with a few harder problems, but it was generally super similar.
Sheesh that was a lot. I honestly did not expect to do this well at all. If you really put in the hard work to study for the DAT, it will definitely pay off. Start studying early, and keep at it!! I felt discouraged many days while studying and my progress wasn’t always linear, but it definitely paid off. You can do this!! Please PM me with any questions! Happy studying :)
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2024.05.11 08:42 Trick_Minimum3190 About Her Voice: A conversation on Mariah Carey with author and critic Andrew Chan

About Her Voice: A conversation on Mariah Carey with author and critic Andrew Chan
About Her Voice A conversation on Mariah Carey with author and critic Andrew Chan BY DANIELLE AMIR JACKSON DECEMBER 21, 2023
Photo by Raph_PH via Flickr. Artistic rendering by Oxford American. Courtesy Wikimedia Commons This exclusive feature is an online extension of the OA’s annual music issue. Order the Ballads Issue and companion CD here.
Singing is “the most enigmatic of performing arts,” the author, editor, critic, and self-professed “diva lover” Andrew Chan writes. It’s a simple matter of air and anatomy: breath moves through closed vocal folds which then vibrate and resound throughout the throat, chest, head, or sinuses. But when we listen intently, transcendence is available to us. Raised hairs on the upper arm, a tingle on the back of the neck. The irrepressible urge to tap one’s toes. Transcendence is something we can feel–a physical sensation that unleashes the emotions and connects us to the divine. That’s why a host of spiritual traditions embrace the human voice as a conduit for worship, and in secular music, many of the most popular traditions–r&b and its variants, country, even rap—foreground some sort of vocal virtuosity. A skilled vocalist can “seduce us, haunt us, heal us regardless of the text they’re delivering or even the culture that surrounds them,” Chan writes.
In his first book, published just this past fall, Chan highlights the thirty-plus year career of Mariah Carey, whose five-octave vocal range; agile, multisyllabic melisma; and well-honed aptitude for catchy hooks and witty wordplay turned her into one of the most successful pop singer-songwriters of all time. Carey has earned five Grammys and nineteen number ones on the Billboard pop chart—the highest of any act besides the Beatles, surpassing Elvis. Two of her fifteen full-length albums are certified diamond, with sales of ten million or more in the United States alone. Why Mariah Carey Matters, part of the University of Texas Press’s Music Matters series, is the first book-length critical assessment of the artist’s wide-ranging career.
Chan makes the case that from the beginning, Carey’s vocal dexterity and range set her apart—her mastery at blending piercing whistle tones, fluttery, feminine whispers, muscular belts, and “leathery low” notes, often within the same song. “There’s something irrational, bizarre, and hazardous-sounding about the way Mariah hopscotches over and across vocal registers without warning or transition,” Chan writes. She also blended and mixed styles of singing, infusing both big, sentimental ballads and buoyant, weightless bops alike with gospel fervor; in the ’90s, alongside artists like Mary J. Blige and Jodeci, she contributed to the creation and commercial dominance of “hip-hop soul.” In her house remixes, often painstakingly re-recorded versions of her mainstream pop hits, she frequently scatted and improvised in the tradition of Ella Fitzgerald or Sarah Vaughan. Equally impressive, and critical in understanding Carey, Chan says, is her “artistry outside the vocal booth.” She wrote or co-wrote all of her most enduring hits, including “Vision of Love,” “We Belong Together,” and “All I Want for Christmas Is You.” She’s produced herself and other artists, and is one of few women nominated for the Grammy Award for Producer of the Year (Non-Classical). It was an early honor, from 1992, for work on her second LP, Emotions.
Chan is one of my favorite writers and an important voice in contemporary music and film criticism. He’s vivid in his assessment of Carey’s musical gifts. He layers in details of his own upbringing to help us understand why certain songs and singers turned him into a student of the art. I love the way he brings the reader along with him—we’re watching and listening together as Carey delivers her gospel-drenched rendition of “America the Beautiful” on the NBA Finals in 1990, hearing her sing the climactic sea-ahhh as she “evokes rolling vistas and open water.” He acknowledges the blemishes on Carey’s career and the unpredictability of her voice, which he insists is not a recent phenomenon. He situates Carey in refreshing context: with Black singers of the ’80s who influenced her sound, and with other female songwriter-producers like Patrice Rushen, Teena Marie, and Angela Winbush, who don’t often receive credit for their prowess behind the boards.
“So much of the culture and money created during this era is the product of Black female creative energy,” writes Danyel Smith, another of my favorite music writers, in Shine Bright, her sweeping history of Black women in American pop. She’s talking about the middle of the twentieth century, when recordings like the Dixie Cups’ “Chapel of Love” achieved mammoth success that the performers—who came up with the arrangement we all know and love—were not credited for. Carey has received commercial rewards, and, as of late, critical adoration from outlets such as Pitchfork and Rolling Stone.
But Chan suggests we still haven’t absorbed the magnitude of Carey’s genius, that our cultural blinders have hindered our ability to understand the breadth of her labor and mastery. Carey’s upbringing as a biracial daughter of a white mom who raised her largely on her own; her sense of not fully belonging among Black or white people; her insistence on femininity in an industry that privileges masculine presentation when it doles out points for credibility. She used it all in her art—especially in her ballads. Over a long and wide-ranging conversation, Chan and I discussed Carey’s melancholy, artistic lineage, the feeling of singing, r&b, gospel, and transcendence.
Courtesy University of Texas Press Danielle Amir Jackson: Can we start with your background? I know you grew up in some American suburbs and in Malaysia. When did you begin to pay so much attention to Mariah Carey?
Andrew Chan: I moved around quite a bit as a kid. I was born in Minneapolis, in a great music city, but I didn’t live there long. My family moved to Tampa, Florida and then to Malaysia. After moving back to the States, I lived in Atlanta, Georgia and Charlotte, North Carolina—the metropolitan New South.
In the nineties.
In the nineties. I moved to Atlanta… I think in ’97. I remember Butterfly had just come out. And I remember Usher was number one on the charts with “You Make Me Wanna…” Living in Atlanta and Charlotte in the nineties, I was one of the few Chinese Americans in school. For much of middle school and early high school, half of my friends were Black. So, there was a lot of exposure to the music that they were listening to. Hip-hop and r&b were becoming mainstream and dominating the charts. Having friends who were Black exposed me to more than just what was crossing over.
I also felt connected emotionally to Malaysian culture. My parents exposed me to some of the great Asian divas of the eighties and nineties. Mandarin and Cantonese pop were important for me until, maybe, first grade. So, I was listening to people like Anita Mui, Priscilla Chan, and Teresa Teng and was completely obsessed with them before I had much knowledge of American pop music. Even then my ear was attuned to how different they sounded. Anita Mui had this beautiful contralto voice. Teresa Teng was more of a mezzo soprano. And they had different vocal approaches. Even if I didn’t have the language to analyze that or express that at that age, I was really drawn to the variety of women’s singing. That fascination carried over to the period when I started becoming obsessed with American pop music and American divas, mainly through Whitney and Mariah. When I heard “I Will Always Love You” and the whole Bodyguard era, I’d never heard something like that before. That drew me to the soul tradition of American singing.
I don’t often hear people discuss Carey in the lineage of great American interpreters of ballads like Ella Fitzgerald or Frank Sinatra, and I really appreciate that it’s the note you lead with in your book—which parallels the way that Carey started her career. The OA’s annual music issue is a dive into ballads and the elasticity of the form. What’s special about ballads? Why might an artist like Carey launch her career with ballads?
Even though she became frustrated with Tommy Mottola molding her into an adult contemporary ballad singer, the demo was full of ballads. She co-wrote all those songs. She found different ways of making the ballad fresh and interesting for herself.
The ballad has always meant different things across time. If you were to compare Sinatra, singing an old jazz standard ballad like “Angel Eyes” or “In the Wee Small Hours of the Morning,” what does that have in common with Mariah Carey’s “Can’t Let Go?” They’re slow. They’re about passionate love. This does a couple of things for a singer: It gives you space to really milk every note and moment; the listener is drawn into the space of the ballad and is invited to listen very closely in a way that you just aren’t if you’re competing with an up-tempo beat behind you or if you’re singing fast. The feat is more about rhythm than it is about holding out long notes. The ballad accentuates the tone of the singer’s voice. It creates an intimate connection with the listener. It also puts the singer at risk of being uncool because ballads are kind of forbidden. And that is why we love them. They can be uncool. They almost feel like something that we shouldn’t admit we listen to or respect because they, especially the sad ones allow us to wallow, which we’re not supposed to do if we’re grownups and we want to be serious and mature. We’re not supposed to sink into our feelings of longing and despair. But this is one of the places in our culture where we get access to that intensity of emotion, and the slowness of the music mimics the infatuated person’s inability to let go of love or inability to stop thinking about the beloved.
Mariah is an unabashedly sentimental singer, and that’s why it took so long for her to garner any kind of critical respect. She is in that tradition of musical wallowers. She loves her heartache. She loves to long and pine. She’s a bit of a masochist.
Many interesting people are.
Yeah. Ballads can be transportive to sing. The tempos are slower; you can really get your mouth around the words and feel each one of them. Because the song isn’t whizzing by at a crazy pace, you can build to a satisfying climax. You can go from low to high in this drawn-out, dramatic way. That shows the full capabilities of your voice.
When you say ballads are transportive, are you talking about a transcendent experience? The Holy Ghost?
A little bit. It’s to the point where you’re moving with your own performance, which is why singers sometimes get choked up when they’re singing their ballads, because it is such a vulnerable place to be. In karaoke, which most people don’t take seriously, if I’m singing a particular song and I’m really feeling it, I can get so lost in it.
“She loves her heartache. She loves to long and pine. She’s a bit of a masochist.”
ANDREW CHAN
I like what you said about ballads being almost contraband. I remember when people realized Beyoncé was starting the Renaissance tour with slow songs. It seemed almost like an anachronism.
Yeah, for her big house record. She’s a great ballad girl too. In terms of them being contraband, back in the Maoist era in China, love ballads were banned because they were seen as counterrevolutionary. If you were part of the revolution, you wouldn’t indulge in these individualistic displays of your own personal emotions. I do get into that a little bit in the book where I even had a moment in my teenage years where I was just like, These are pathetic. They’re a distraction from the real business of politics and liberation and revolution, you know?
We include a song by Fannie Lou Hamer on our compilation accompanying the issue. You made me think of Elaine Brown, who was chair of the Black Panther party and recorded songs and some of them are balladlike. They’re propagandist, one-note songs.
There is the political ballad too. I think there’s something about love ballads where it’s like surrendering and succumbing to feelings of longing, loss, yearning, desire. Of course, there’s misogyny involved in that too, because these are “feminized” emotions. Ideas about feminine hysteria are built into this hyperbolic style of singing as well. People forget that Whitney was booed and disrespected for much of her career. It’s funny that she and Mariah had a reappraisal where they’re legends now, but at the beginning of their careers, they were criticized for over-singing and being excessive.
I wonder why people didn’t say that about Luther Vandross. He’s super indulgent.
He’s so indulgent. “A House is Not a Home” or “Superstar”—those songs are seven minutes long or something. He had some pop crossover appeal, but he never hit it as big as Whitney and Mariah. But also, there’s a bit of misogyny in that, the difference between women doing it and men doing it. I mean, Al Green is a show-off. They’re all show-offs.
Let’s talk about the eighties. You say that “Can’t Let Go,” is a revision of “Make It Last Forever” by Keith Sweat and Jacci McGhee and compare Carey’s work as a songwriter-singer-producer to Teena Marie and Angela Winbush. And you go into quite a bit of depth into all her references and homages in Glitter: Indeep, Zapp, Cherrelle. I’m having a moment right now—perhaps I’m where Mariah was back in ’99 and 2000—but I’m so obsessed with the sounds and sights of the Black ’80s. Miki Howard, whom you also mention, has been heavy on my mind, alongside Anita Baker, Patrice Rushen, Regina Belle. In your opinion, what was special about that era in music, particularly in Black pop, and how was it connected to Carey’s debut?
I didn’t come into writing this book as an expert in eighties Black music. That is one of the areas where I felt a bit insecure because I felt I knew sixties and seventies r&b and nineties onward in terms of r&b, but for some reason the eighties were an area that I hadn’t explored sufficiently. I knew the major names and their works, but it is a decade that, when it comes to Black popular music, it’s so defined by one-hit wonders. Aside from the Whitneys and the Michael and Janet Jacksons and Lionel Richies, there weren’t a lot of a long-lasting careers that crossed over to non-Black audiences in a major way. Sometimes, DeBarge would have a pop hit, but for most of their significant catalog, mostly Black listeners were listening. I had to do a lot of catching up to get those sounds into my ears and really hear how they influenced Mariah. I think part of it is because eighties r&b is less canonized than the seventies and nineties. Even the nineties have experienced this resurgence of critical interest, but the eighties are almost like a blip. Part of it is where it came in the history of popular music—after the demise of disco, which really was a shaming of Black music by the white rock establishment. I’m sure it’s more complex than that, but that was certainly a dimension to that whole culture war. In the eighties, you have r&b coming out of the ashes of disco and utilizing the electronic elements that disco had been criticized or seen as superficial for. You get a lot of experimentation like Zapp—so kooky and goofy. The use of the talk box to manipulate vocals. You get club music, like Cherrelle, a sort of post-disco dance music, people having a lot of fun. Just like really deep grooves that went on for like six minutes. Gap Band, all that kind of stuff.
There’s the kind of fun side of eighties r&b, but then on the other side you have this luxuriousness, the plush textures of Quiet Storm, which began in the seventies, but really came into its own commercially in the eighties with people like Luther, Anita Baker—who sort of took the slow-roasted, slow-jam, boudoir sound of Isaac Hayes and Al Green and Smokey Robinson—and pushed it to a whole new level. Even when they were singing at the tops of their lungs, it was still smooth.
I hesitate to just generalize all eighties r&b, but I see those as the two parallel tracks. I think they both deeply informed Mariah’s aesthetic. I think Aretha is a huge influence on pretty much all r&b women singers. I think Mariah would cite her as the ultimate female influence, but I think when it comes to sonics, the luxuriousness, the Quiet Storm sound is so evident in songs like “Underneath the Stars” and “Fourth of July.” Those are what you would think of as Quiet-Storm Mariah, but you [also] hear it in the stuff that’s more hip-hop like “The Roof.” The way she’s stacking her vocals, the way she’s creating texture with her voice. It’s very Luther. The way she is manipulating her voice, the way she’s showing it off but not for its own sake, but to create an environment that you sort of wrap yourself in. When I think of Luther showcases like “Superstar” or “Forever, for Always, for Love,” it’s very much like some kind of texture that you can wrap yourself.
This is quite different from the approach of the belters of the sixties and seventies, like Aretha or even Gladys or Chaka, powerful singers who really prioritized the belt. Mariah is a phenomenal belter—one of the greatest. Where she really distinguishes herself from other divas of her time is the subtler parts of her voice. I think a lot of that is influenced by Quiet Storm. When it comes to the zanier side of eighties r&b, you hear it in her sense of humor, her effervescence, especially as she became more of a jokester lyrically in her later years. You can sort of hear the lyrical experimentation and the kind of devil-may-care attitude of eighties Black music.
One of my favorite live performances of Carey’s is where she sings “Somewhere Over the Rainbow” and “If Only You Knew,” her Patti Labelle homage. I love that era in her voice where there is that level of rasp.
That performance—it’s very eighties Patti. “If Only You Knew” is so eighties. I think Mariah’s samples, too, are so interesting and root her in the time of her youth. She’s such a radio-head, the way she talks about listening to the radio in her memoir and her devotion to soaking up all those sounds. That was before streaming, where you really had to be glued to the radio. I don’t know if she had MTV back in the day, but the radio was the thing. And she wasn’t just listening to r&b. She was listening to Pat Benatar. The range of her musical references is so fascinating.
I’d love to discuss Carey’s gospel moments. You spend a great deal of time on her rendition of Dottie Peoples’ “Jesus, Oh What a Wonderful Child” and note that while Carey didn’t grow up in the Black church, she joined one as an adult. What’s Mariah’s connection to the gospel of the ’90s? I’m thinking of artists like BeBe and CeCe Winans or Commissioned?
I love gospel music, but I would never claim to know it. I love gospel music because that’s where r&b comes from. R&b is my portal into gospel music. It remains the source of so much great singing, even today. Le’Andria Johnson is one of my favorite singers alive. In terms of Mariah and gospel, I think it is so interesting to me that she didn’t grow up in a Black church and yet was so committed to singing in a gospel style, even from the beginning. There may not be songs that feel explicitly gospel on the debut album, but you do have moments. “There’s Got to Be a Way” has a gospel choir that feels kind of in the style of BeBe and CeCe Winans. That pop, commercial gospel that was happening in the late eighties and nineties—the kind of gospel that you would hear in Sister Act 2. Then she employs background singers like Kelly Price and Melonie Daniels—virtuosos of that sound.
In the book, you note that Kelly Price had been trained by Mattie Moss Clark.
Yes, I found that in a video of Kelly Price. She talked about doing some kind of workshop with Mattie Moss Clark when she was younger. [Carey’s] commitment to surrounding herself with not just skilled r&b background vocalists, who could do a commercial sound, but vocalists like Kelly Price and Melonie Daniels, who could bring a church sound, specifically a COGIC sound to her music is completely fascinating to me. The Clark Sisters were playing on r&b radio back in the seventies. Gospel had been having these kinds of crossover moments, but Mariah’s knowledge of the music surpasses just knowing “Oh, Happy Day” or “You Brought the Sunshine.” She was listening to Vanessa Bell Armstrong. From the very first album in interviews, she is citing Vanessa Bell Armstrong and the Clark Sisters as influences.
I have to think that in her teens, she had been exposed to gospel music. I’m fascinated that she came to the music and absorbed its influence without having a longstanding background in the Black church. I bring this up, not so much as a point about appropriation, but more as another example of Mariah being someone obsessed with records and listening to music and soaking up any influence she could find, whether it was Journey—when she covers “Open Arms”—or gospel or hip-hop or what have you.
To go back to gospel and “Jesus, Oh What a Wonderful Child,” she has moments where she wears her gospel influence on her sleeve even before that. “Anytime You Need a Friend” was one of the most significant gospel moments; she’s singing with a choir behind her and doing a lot of riffing and running and belting in the way of the great COGIC singers. “Jesus, Oh What a Wonderful Child” is significant because it sounds live. I read somewhere that it was recorded live in a church. The vamp is unlike anything that had come in her discography before. It is a gesture toward a kind of gospel authenticity. It’s no longer just gospel-pop. It’s going there and trying to recreate the spirit and the atmosphere and the feeling of a live gospel setting.
I’m interested in her study of gospel as an example of her being a constant and abiding student of different forms of Black music. I love her later gospel songs like “Fly like a Bird,” “I Wish You Well,” and “Heavenly” where she combines a James Cleveland song with a Mary Mary song. There is a song called “I Understand” that’s one of those multi-megastar performances. There’s Rance Allen, Kim Burrell, and Mariah does just whistle at the very end.
Do you think Mariah is fundamentally an r&b artist?
We first have to acknowledge that genres are constructs. These terms have historical origins that are usually rooted in marketing and promotion. Most people track [r&b] to the 1940s. It replaced race music as the designation or the category for whatever African Americans listened to that was popular music. It’s a shifting signifier. The idea that there is a commonality between the music of Ray Charles and Lavern Baker and Fats Domino and Mariah and SZA—all these artists sound so different. I think there is something a little bit unhelpful about these genre markers.
That being said, constructs take on their own reality for people who engage with them. For Mariah, and her listeners who gravitate to the r&b side of her catalog, r&b represents something. It’s as different as the music has become over the decades. There are still certain stylistic and sonic continuities. It’s very improvisational. There is melisma, runs. In classical music, you perform it as its notated. Melisma defies notation. You can sing so many notes so fast that you can’t really even transcribe it. It’s rooted in gospel. It’s rooted in a certain passion for delivery, a centrality of the voice and individual expression. An idea about struggle and transcendence, because it’s rooted in the Black experience and an acknowledgement that life is sometimes totally unbearable, and music is a vehicle to help you get over, to get through. People who gravitate to r&b are connecting with that.
Of course, not every r&b song is about that. But even in a slow jam, you can hear that whining, that struggle, that tension. You hear all these elements in Mariah’s discography. For her, r&b became, at a certain point in her life, a way of expressing her Black identity, which had been dismissed or misrepresented or misunderstood. She was constantly asked about her race in interviews, constantly having to remind people of what she had said from the very beginning, that her father was Black and Venezuelan, and her mother was Irish American. Embracing r&b as her heritage was an important part of her owning her identity as a Black woman. R&b is so interesting as a cultural and political marker, because now we’re in an age where white artists like Justin Bieber or Justin Timberlake, or whoever, say that they’re r&b. I’m less interested in saying, “This person’s not r&b; this person is,” and more interested in what is it that makes people so desperate to align themselves with this genre. I think it’s the historical lineage—the gravity of the heritage. It’s the connection to the idea of soul, which is a spiritual idea.
I’m not sure if any artist can be definitively anything when it comes to genre. But I think certainly Mariah perceives herself as an r&b artist and has conducted her artistic life in a way that shows that she’s committed to a certain ideal of what r&b is—passionate, soulful singing; a connection to music as a form of spirituality.
“Even in a slow jam, you can hear that whining, that struggle, that tension.”
ANDREW CHAN
You have this part of the book where you’re talking about her covers of power rock anthems. You don’t say that she’s reappropriating, but you say she’s showing how permeable rock and r&b boundaries are. They have a shared origin, and they come together in her choices of what to cover and what to sing and how to sing them and her arrangements.
For sure. If you think about Foreigner’s “I Want to Know What Love Is” that she covers, that’s an instance of a white band bringing gospel influence into a rock song. These boundaries are always permeable. Rock at one point was called r&b when it was sung by Black artists. What she demonstrates with her music is the variety within r&b and that the music is not a monolith. She’s giving you quiet storm. She’s giving you girl-group songs. She’s giving you New Jack Swing. She’s giving you hip-hop soul. She’s giving you power ballads. She’s giving you deep soul, in the tradition of Aretha with “Mine Again.” She is committed to a vision of herself as an r&b artist, but for her it is many things.
All the things you were saying about the struggle and resilience r&b signifies—I think that’s also reflective of the queerness that many sense in a lot of Mariah’s songs.
Absolutely. One song I want to write about is “Ain’t No Way.” Carolyn Franklin wrote that. I don’t know if we know definitively if she was queer, but I think all the history kind of shows that she was. There’s definitely a [queer] reading of that song. You have Luther as a queer artist and Sylvester, so many of the pioneers of the r&b. Little Richard. It makes sense because gospel was pioneered by queer people. Otherness and survival, the longing for transcendence is something so baked into the music. That’s certainly what I was responding to as a young closeted gay child, who’s experiencing racial otherness in the American South as well. Obviously, my experience is very different from Mariah’s, but I think there’s a longing to transcend the arbitrariness of what oppresses us through sound.
And she does transcend and break through.
She achieves it. What is beautiful about a Mariah Carey ballad is that she takes you into the depths of despair, sorrow, but through the sheer beauty and power and mastery of her voice, she is carrying us over. No matter how sorrowful or despairing it gets—and some of them really are quite dark and fatalistic—there’s something about the voice. The voice can be the vehicle that carries you over.
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2024.05.09 20:33 This-Operation3232 19 weeks- head/brain smaller than rest of body

Hi all, I guess this is more of a vent/just needing to spill it out instead of looking at google. Went in for my anatomy ultrasound and everything about our baby is normal and growing fine- but head and brain are measuring 5th percentile. We already did 2 NIPT tests that came back inconclusive. So this morning last minute we did an amniocentesis test (I think that’s right?). Of course they are worried now about chromosome 18 and it’s led me into stress and panic. I know I was a small baby and I am still small (5ft and rocked my own beautiful growth chart whole life and my mom carried me small), so hoping for same? Not sure if anyone else has been in this position but anything would help. This is our first and trying not to over-stress.
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2024.05.09 08:34 billingbee1 5 Qualities the Best People In The Online Billing Software Industry Tend To Have

5 Qualities the Best People In The Online Billing Software Industry Tend To Have
In the ever-evolving landscape of digital commerce, the realm of online billing software stands as a cornerstone for businesses worldwide. Behind the scenes of this dynamic industry lie individuals whose prowess and qualities set them apart as trailblazers. Today, we delve into the fabric of success within the online billing software domain, uncovering the quintessential traits that mark the best in the business.

Introduction: Navigating the Digital Frontier of Billing Solutions

The digital era has brought about unprecedented changes in how businesses operate and interact with their customers. Among the myriad transformations, the digitization of billing processes has emerged as a pivotal force, revolutionizing the way organizations manage their finances. At the forefront of this digital revolution are the stalwarts of the online billing software industry, whose innovative solutions and unwavering commitment to excellence have reshaped the landscape of financial management.
In this comprehensive guide, we will explore the five qualities that distinguish the best individuals in the online billing software industry. From innovation and adaptability to expertise, customer-centricity, and vision, these qualities form the bedrock of success in an increasingly competitive market. By understanding and embodying these traits, aspiring entrepreneurs and seasoned professionals alike can chart a course toward success in the dynamic realm of online billing software.

1. Innovation: Pioneering Change in the Digital Sphere

Innovation lies at the heart of progress in the online billing software industry. From the earliest iterations of billing software to the cutting-edge solutions of today, innovation has been the driving force behind the evolution of billing technology. Innovators in this field are not content with the status quo; they continuously seek out new ways to improve efficiency, enhance user experience, and address the evolving needs of businesses worldwide.

The Evolution of Billing Technology: A Journey Through Innovation

The history of billing technology is a testament to human ingenuity and the relentless pursuit of progress. From manual invoicing systems to the advent of electronic billing software, each milestone represents a leap forward in efficiency and convenience. Innovators in the online billing software industry have played a pivotal role in this journey, introducing groundbreaking features and functionalities that have transformed the way businesses manage their finances.

Harnessing the Power of Emerging Technologies

Innovation in the online billing software industry is fueled by a relentless drive to leverage emerging technologies for maximum impact. From artificial intelligence and machine learning to blockchain and cloud computing, innovators are constantly exploring new frontiers in search of the next big breakthrough. By harnessing the power of these technologies, they are able to create solutions that are faster, more secure, and more intuitive than ever before.

Case Study: The Rise of Free Invoice Generators

One of the most notable innovations in the online billing software industry in recent years has been the proliferation of free invoice generators. These tools empower businesses of all sizes to create professional-looking invoices quickly and easily, without the need for expensive software or specialized expertise. By offering a simple, user-friendly interface and a range of customizable templates, free invoice generators have democratized the invoicing process, making it accessible to entrepreneurs and freelancers around the globe.

2. Adaptability: Navigating the Waves of Change

In an industry characterized by rapid technological advancements and shifting market dynamics, adaptability is essential for success. The best individuals in the online billing software industry possess the agility and flexibility to respond quickly to changes in the market, seizing new opportunities and overcoming challenges with ease.

Embracing Change: A Key to Survival in a Dynamic Market

The digital landscape is in a constant state of flux, with new technologies, trends, and competitors emerging at a rapid pace. In such a dynamic environment, businesses that fail to adapt risk being left behind. The best individuals in the online billing software industry understand the importance of embracing change and are quick to pivot their strategies and offerings in response to shifting market dynamics.

Agility in Action: Case Studies of Successful Adaptation

Throughout the history of the online billing software industry, there have been countless examples of companies that have successfully navigated periods of change and emerged stronger on the other side. From legacy software providers that have transitioned to cloud-based solutions to startups that have pivoted their business models in response to evolving customer needs, adaptability has been a common thread among the industry's most successful players.

Future-Proofing Your Business: Strategies for Long-Term Success

In an era of unprecedented uncertainty, future-proofing your business is more important than ever. By staying attuned to emerging trends, investing in ongoing training and development, and fostering a culture of innovation and experimentation, businesses can position themselves to thrive in the face of whatever challenges the future may bring. Whether you're a seasoned industry veteran or a newcomer to the online billing software industry, adaptability is the key to long-term success.

3. Expertise: Mastering the Art and Science of Billing Solutions

Behind every exceptional online billing software lies a team of experts who are masters of their craft. The best individuals in the industry boast a deep understanding of billing processes, coupled with technical proficiency that sets them apart as authorities in their field. Their expertise serves as a beacon of trust for businesses seeking reliable and effective solutions, whether in the realm of software for billing free or premium offerings.

The Anatomy of Expertise: The Building Blocks of Mastery

Expertise in the online billing software industry is built on a foundation of knowledge, skill, and experience. From understanding the intricacies of accounting principles to mastering the nuances of coding and software development, experts in this field possess a diverse array of competencies that enable them to tackle even the most complex challenges with confidence and precision.

Cultivating Expertise: Strategies for Continuous Improvement

Becoming an expert in the online billing software industry is not something that happens overnight. It requires dedication, discipline, and a willingness to continually push oneself to learn and grow. Whether through formal education, on-the-job training, or self-directed study, there are countless paths to expertise in this field. By embracing a mindset of lifelong learning and seeking out opportunities to expand your knowledge and skills, you can position yourself as a trusted authority in the industry.

The Value of Expertise: Building Trust and Credibility

In a crowded marketplace, expertise is a powerful differentiator. Businesses and consumers alike are drawn to providers who demonstrate a deep understanding of their needs and can offer tailored solutions to address them. By showcasing your expertise through thought leadership, certifications, and testimonials from satisfied customers, you can build trust and credibility with your target audience, setting yourself apart as a trusted advisor in the online billing software industry.

4. Customer-Centric Approach: Fostering Relationships Beyond Transactions

Beyond the realm of code and algorithms, the best in the online billing software industry prioritize the human element. They recognize that behind every transaction lies a relationship waiting to be nurtured. These individuals go above and beyond to understand the unique needs of their clients, offering personalized solutions and unparalleled support. Their customer-centric approach fosters loyalty and long-term partnerships, driving sustainable growth in the competitive landscape of free invoice generators and premium software alike.

Putting the Customer First: A Philosophy of Service Excellence

At its core, a customer-centric approach is about putting the needs of the customer at the forefront of everything you do. It's about listening actively, empathizing deeply, and going the extra mile to ensure that every interaction leaves a positive impression. Whether you're helping a client troubleshoot a technical issue or guiding them through the implementation of a new billing solution, your goal should always be to exceed their expectations and deliver an exceptional experience.

Building Relationships That Last: The Power of Trust and Transparency

In the online billing software industry, trust is paramount. Businesses rely on their billing software providers to safeguard their sensitive financial data and deliver reliable, secure solutions that they can count on day in and day out. By being transparent about your processes and security measures, and by demonstrating a commitment to integrity and honesty in all your interactions, you can build trust with your clients and lay the foundation for long-lasting relationships built on mutual respect and transparency.

Going Above and Beyond: Delivering Value at Every Touchpoint

In a competitive market, delivering value is essential for retaining customers and fostering loyalty. The best individuals in the online billing software industry understand that value goes beyond the features and functionalities of their products; it's about the entire customer experience, from the initial sales pitch to post-sale support and beyond. By going above and beyond to anticipate and meet the needs of your clients, you can differentiate yourself from the competition and create a lasting impression that keeps customers coming back for more.

5. Vision: Shaping the Future of Digital Finance

At the helm of the online billing software industry stand visionaries who dare to dream big. These individuals possess a keen foresight that transcends the present moment, envisioning the future of digital finance with clarity and purpose. They anticipate trends before they emerge, laying the groundwork for groundbreaking innovations that redefine the way businesses approach billing and invoicing. Their visionary leadership inspires others to join them on the journey towards a more efficient, inclusive, and accessible financial ecosystem.

The Power of Vision: Charting a Course for Innovation and Growth

Vision is what sets the leaders of the online billing software industry apart from the rest. It's the ability to see beyond the horizon, to imagine what could be and to take bold action to make it a reality. Whether it's envisioning a world where billing processes are fully automated and frictionless or pioneering new technologies that revolutionize the way businesses manage their finances, visionaries in this field are driven by a relentless desire to shape the future of digital finance for the better.

Inspiring Others: The Ripple Effect of Visionary Leadership

Visionary leaders in the online billing software industry don't just chart their own course; they inspire others to follow in their footsteps. By articulating a compelling vision for the future and leading by example, they galvanize their teams and their partners to embrace change, take risks, and push the boundaries of what's possible. Whether you're a CEO, a product manager, or an aspiring entrepreneur, cultivating a clear and compelling vision for the future is essential for driving innovation and growth in the online billing software industry.

The Future Is Now: Seizing Opportunities in a Rapidly Changing Landscape

As we look to the future of the online billing software industry, one thing is clear: change is inevitable. From the rise of artificial intelligence and machine learning to the growing demand for seamless integration with other business systems, the industry is poised for continued evolution and disruption in the years to come. By staying attuned to emerging trends, embracing new technologies, and cultivating a culture of innovation and adaptability, businesses and individuals can position themselves to thrive in this rapidly changing landscape.

Conclusion: Embracing Excellence in the Online Billing Software Industry

In conclusion, the landscape of online billing software is shaped by individuals who embody the qualities of innovation, adaptability, expertise, customer-centricity, and vision. These trailblazers set the standard for excellence in a rapidly evolving industry, driving progress and shaping the future of digital finance. Whether navigating the complexities of software for billing free or pioneering premium solutions, their impact resonates far beyond the realm of code and algorithms, transforming the way businesses manage their finances online.
As we look ahead to the opportunities and challenges that lie on the horizon, let us take inspiration from the pioneers of the online software for billing free industry and redouble our efforts to innovate, adapt, and lead the way towards a future where financial management is smarter, simpler, and more secure than ever before. With the right blend of vision, expertise, and customer-centricity, we can build a brighter future for businesses and consumers alike, powered by the transformative potential of online billing software.
https://preview.redd.it/bzkfl9lliczc1.jpg?width=1080&format=pjpg&auto=webp&s=7ac28de5febf7da3e1e2b404c940f8ad2c3b5991
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2024.05.09 02:13 Zhule88 Black water buccaneers

So I was hoping to get some eyes on this, and see if anyone has suggestions. Also just hoping to get general thoughts on the whole thing.
Groth, the White Death, The Walking Blizzard, let out a low growl and gingerly dabbed at his head wound, as he made his way towards the ship’s bridge. With XO Gwip, and Chief Security Officer Diroon, still stuck in medical; after the events of the most recent raid. It fell to him as Captain, to shut off the ship’s proximity alarm. In his haste, and still half asleep, he had once again smashed his head into the low doorframe of his quarters. He was unsure if a piece of metal had finally worked its way free from the constant blunt force trauma of skull meeting metal; or if he had simply slammed into the door with enough force to cause his skin to split open. Either way, he now had a streak of magenta blood staining his otherwise pristine white face fur.

Groth was by no means the smartest or most friendly looking Aolthundian; which said quite a bit, since the Aolthundians as a race were not well known for their intellects or charming visages. Aolthundians were known for their massive frames, immense strength, and durability/resistance against most forms of small to medium caliber weapons. These traits made them some of the most sought-after mercenaries within the Galactic Union. It also made them some of the most dangerous pirates, that the GU had to contend with.

Groth was a prime example of his race, standing at a massive 30 Galactic Standard Units [12.835 feet] when bipedal, and a still respectable 11.3 GSU [4.83451667 feet] while quadrupedal. Groth was descended from one of the largest and most powerful sub-species of his race. Hailing from the farthest northern cotenant of Aolthun, his ancestors had evolved to both blend in with their frozen environment, while also having grown massive to better fight against their ancestral opponents, the Bif. While it had been several millennia since the Aolthundians had gained sapience, and the Bif had long since died off, some ancestral traits still manifested within the bloodlines of families like Groth’s.

Groth didn’t know many things, he’d left much of that “big picture” stuff in the hands of his XO, and lifelong friend, Gwip. The only things he knew for sure at the moment; was that he absolutely hated being stuck on this third hand shoebox sized Nimean1 rust bucket; he absolutely despised the high pitches screaming of the proximity alarm; and that the last four [weeks] were somehow all Gwip’s fault.

Groth could still hear Gwip’s words from all those [Years] ago. “Man, screw fighting and dying for someone else’s petty squabbles. Let’s become privateers! Think of the fame and fortune... What are you stupid? Don’t buy new. Might as well throw your credits into the void? Save some chits, and get a used ship... No, no! Not an Aolthundian frigate, they’ll turn most of the ship to slag before risking getting within a light hour of us if they think they’re up against Aolthundians. Our best shot is to catch them by surprise, as they say “No one expects the Aolthundian Inquisition” ... Get this one, no one’s going to except a bunch of Aolthundians to be on a Nimean freighter. It’s the perfect cover”

Groth had to begrudgingly admit that at least some of that advice had proven correct thus far. Every single ship they had encountered, had vastly underestimated them. But who could blame them? A ship design so old, that it hadn’t seen production in over 30 [years]. No doubt crewed by a group of Nimeans. Nimeans who were so strapped for cash they couldn’t even afford to hire a security corvette, despite needing to travel through such a dangerous patch of grey space. Clearly, the Nimean captain had to be up to their eyestalks in debt if they were risking not only their own life, but also the lives of their crew, on an “all or nothing” run like this. Traveling through grey space, could often cut [weeks] off your travel time. It also meant one could avoid the costly travel permits, and toll fees, you were required to pay if you used the GU controlled space lanes. Surely such a run meant a ship filled to the brim with easy to move loot. Or perhaps it was a group of Nimeans who were running illegal goods. They hoped that the age of their ship, and their race’s pacifistic reputation would shield them from being accosted. Either way, the whole thing screamed “easy score” to the pirates who trolled these back alley short cuts. It was also well known that Nimeans went for a high price on the slave markets of the Outer Rim.

Everything had been going great for 4 [years]. Near constant raids by pirates, slavers, and the other low lives of the galaxy, meant that the crew wanted for little in regards to food or entertainment. The bounties Groth collected from dealing with these groups, along with the profits from selling off their illegally gotten goods, allowed for an immense amount of custom work to be done on the freighter. Modified smuggler hatches, enhances shield arrays, retrofitted heavy armor that doubled as prevention against internal scanning, not to mention the upgraded ‘asteroid defense system’ were but a few examples of the modifications Groth and Gwip had made since buying the rust bucket. All the upgrades meant that the ship could punch well above its weight class. Not that all those upgrades had mattered during their last raid.

It had all started off as it normally did. The enemy ship had “caught them by surprise”, Groth’s crew had hidden away in the modified smuggler hatches. The enemy boarded the ship and began to fight their way through the automated defense system. Once they were a good distance into the ship, Groth and the crew exited their hiding spots. Gwip and his team would flank the enemies from behind, while Groth and his team would secure the enemy ship.

Everything was going like clockwork; at least until the enemy’s combatants decided to self-detonate rather than be captured. Groth had lost half a dozen crew in the blink of an eye, as their prey literally exploded underneath them. Another dozen, including Gwip and Diroon, where only critically injured during the chaos. Saved the worst of it by either being further away from the detonating invaders, or simply happening to be behind a crew member who bore the brunt of the explosive force and super-heated shrapnel.

The enemy ship had tried to flee, only to find that when they had latched onto the freighter; the freighter had latched onto them as well. High intensity Grav-beams made sure that no ship could escape once they docked, at least not without tearing a massive chunk out of their hull and superstructure.

Their hopes for escape dashed, the enemy captain had chosen to do the unthinkable. Rather than surrender or even go down fighting, the cowardly bastard had scuttled his ship. The resulting explosion, coupled with the proximity of the two ships, had caused massive damage to the Nimean freighter. The containment fields on the FTL engines where cracked, meaning the ship risked catastrophic system and structural collapse anytime it made a jump. The weapon systems were FUBAR. Even the impulse engines were down to sub 50% efficacy. The only silver lining was that by some miracle, the electronic warfare suite (EWS) had managed to come out of everything relatively unharmed.

Groth finally reached the bridge, and turned off the alarm. As he scanned the incoming data, the rest of the crew, most of whom had been hibernating, slowly check in. It seemed there was a ship that had just come into sensor range. It wasn’t broadcasting any identification signal, and its make doesn’t match anything Groth had seen before. Preliminary scans indicated that the ship was damaged, but still held multiple life signs. Given the damage reports and the ship’s current location, it stood to reason that it had recently been engaged in a raid. Though if it had been the aggressor or victim remained unclear.

Taking a risk, Groth hailed the ship using a high end Nimean VI/VR program he had installed to mask who was really on the freighter. Seconds seemed to pass like hours as he waited for a reply. Eventually the opposing ship responded, seeming to finally acknowledge the presence of the Nimean ship. The creature that responded was not one that Groth was familiar with, it appeared to be bipedal with two arms that sprouted from near the top of its chest. The arms were neither overly long nor stubby, seeming to have a joint about half way down. Each arm ended in a five-digit grasping appendage. They were clearly of mammalian ancestry, but for some reason lacked almost any hair. What limited hair Groth could see, seemed to be focused around the top of their skulls and for some around their primary consumption / communication orifice.

Doing a quick data search, Groth was finally able to pull up a species name. Apparently, the beings had many names for their race, but the two most common ones seemed to be Human or Terran. Apparently, their race had only recently, about 15 of their [years], made contact with the Union. The data logs held little information about the race; only some basic anatomy charts, a rough translation of a few of their more prominent languages, and some rough design documents about Terran ship styles.

As the human captain greeted the Nimean avatar Groth used, it spoke of happiness at having found another friendly ship in this sector. The EWS sent a silent message to Groth’s screen, it had managed to break through the, frankly juvenile, security protections that the human ship had used. The EWS had identified that the “human” ship was using their own form of VR overlay. This revelation set Groth on edge, a feeling made worse when a moment later the EWS identified that ship was not actually being piloted by humans. The EWS informed him that it detected no human life signs still aboard the ship. Groth pressed a button, and the EWS projected the image of the ship’s bridge onto a new screen.

The sight that met him, caused him to thank the Ancients for his own VR overlay. The bridge of the enemy ship was splattered with dark crimson blood. Dozens of human corpses still floated where they had been shot. Scattered around the room were various Anstenii2, Groth watched as one of them tore the arm off a human corpse, before shoving the bloody limb into its toothy muzzle.

Groth had no love for the Anstenii, hell he doubted anyone loved the Anstenii. Groth could understand pirates and slavers. He didn’t agree with what they did, but he could understand why some of them did terrible things. When you had no other options, you’d do damn near anything for money or simply to survive. The Anstenii though, no, those monsters didn’t attack ships out of need or even greed. They raided ships for the sheer enjoyment they found in ending other sapient life.

A small part of Groth was happy they had found this group of Anstenii. Groth was not a good person; one does not become a privateer if they are a “good person”. The job required its practitioners to be willing and able to kill at the drop of a hat. Those who did this job needed to be able to end dozens of sapient lives, and still go to sleep with a clear conscience. No, Groth was not a good person, that said he could at least make the universe a little better by purging some true evil.

The “Human” ship had begun to approach the freighter, by some twisted luck their engines seemed to have been damaged when the Anstenii had assaulted the craft. With the human ship moving at limited impulse, Groth was afforded precious few extra minutes to prepare. While Groth had never been a “big picture” or “plan for the future” kind of guy, he had always excelled at combat and battle planning. With his crew already down more than half their numbers, he would have to be extra careful engaging the Anstenii. Sure, the little bastards could never hope to match him or his boys in one-on-one combat. However, he highly doubted the Anstenii would call for honorable single combat; no, the monsters would use their numbers. Hell, even a group of Nimeans had been known to take down an Aolthundian before. All they had to do was swarmed their opponent with enough beings, and be willing to suffer heavy losses.

Groth made the call, all able hands to the hatches, double time. Anyone too injured to move freely, needed to grab a weapon and report to medical. If his plan failed, they would be the last line of defense between the Anstenii hoard and their comatose companions. Anyone not in their assigned position after 5 [minutes], risked being marked as a hostile by the automated defenses or suffocating as Groth sealed bulkheads and depressurized several sections of the ship. He specifically left a path that led deeper into the ship under ‘minimal’ defense. Careful to balance ease of access, with enough mechanical defenses to give the illusion that the crew had fled down the twisting corridors. Too much defense, and the enemy were like as not to simply cut their way through the bulkheads, as they made a direct line for the mass of life signs deeper in the ship. Too little defense and even a fool could smell this for the trap it was.

It ended up taking the “human” ship about 15 [minutes] to finally reach the Nimean freighter. Time Groth was happy to use moving around what various defense systems he could. He had just finished setting up a particularly devious trap when the sensors informed him of the imminent arrival of his “guests”.

Before heading to his personal hatch, he had the system send out a wide band sensor pulse. such pulses were common procedure when ships docked with each other. It allowed for the automated systems of both ships to sink up and calculate an optimal connection solution. The pulse however had another effect, due to proximity, it allowed each ship to scan the other much more thoroughly. Such a deep scan would have been enough to alert the Nimean captain, that the “human” ship was infested with Anstenii. The problem was, that at such a close distance there was no way to cancel the docking program. Groth knew that the human ship would report the use of the pulse, thus alerting the Anstenii captain that the ruse was up... But if luck was on Groth side, it would not make the enemy captain question the lack of resistance he and his crew would face at the docking bay.

Groth had just made it to his hatch when he felt the docking claps latch onto his ship’s hull. Slipping inside he shut the door as he heard the telltale sounds of the airlock cycling. Moments dragged by as he waited for the airlock to finish. Then he was forced to wait as the Anstenii flooded into the cargo hold. Taking deep breaths, he slowly counted down from 300. As he reached 89, the system begun to send him reports about the automated defense system opening fire on the invaders. 40 seconds passed, and the system sent him an updated report; the Anstenii had managed to clear the first 4 compartments. 40 more seconds and the system reported that the Anstenii had cleared an additional 2.5 compartments. Only 3.5 more compartments till they reach medical.

They were moving way too fast; the defenses shouldn’t have fallen so quickly. Had he made the path too easy? No, the data was clear, a normal assault force would not have had the numbers to make this kind of progress. It took only a moment for the thought to form.

“Computer, how many hostiles are there compared to projected calculations?”

“Accounting for losses among the enemy, hostile force deployed 237% more troops then originally projected.” came back the cold voice of the ship’s VI.

Groth both winced and cheered at the news. His projection had been wrong, he had expected the Anstenii leader to send a normal amount of his people to claim the freighter. If he had, the defenses should have stopped them by the 3rd or 4th compartment. The assault leader would have then called for back-up. Instead, the crazy bastard had sent damn near every one of his people in the initial assault. Something deep in Groth’s gut told him that the Anstenii leader would not be the kind of Captain to lead from the front. No... Attempting to hide behind the VR overlay and trick Nimean merchants, said that this Anstenii wasn’t the type to risk his own hide. But committing this many troops also meant he was sure of his inevitable victory and was simply impatient to reap the spoils of conquest. A plan took shape in Groth’s mind.

Groth issued new orders to his men. He would infiltrate the enemy ship by himself, while the rest of the crew pincered the enemy force. The increased size of the enemy assault force had allowed them to puncture much deeper than expected into the freighter. But it also meant that the enemy’s troops were likely exhausted from the speed of the push, bogged down by the worst of the defenses, and lacked reinforcements to threaten the Aolthundian flanks.

As Groth made his way through the human vessel. As he hurried through the human storage bay, he couldn’t help but notice how little sign of struggle the humans seemed to have put up. Wall after wall was coated in the thick dark red blood of the humans. Human corpses littered the floor, most of whom looked like they had been killed from behind. All of the bodies were without weapons. As the passed through storage and followed the direction towards the bridge, he noticed the strangest thing. Despite the general lack of Anstenii corpses; the few times he did find them, there was always a pile of at least half a dozen. Always in close proximity to a human or small group of humans that looked like they had gone down fighting.

As he rounded a corner, Groth run straight into the object of his search. An Anstenii who was flanked by a pitiful two lackeys; the same Anstenii Groth noted, that he had seen using the human VR avatar. The subsequent fight, if one could even call it that, was a one-sided bloodbath. Groth used his massive size and strength advantage, along with his [5 inch] claws, to rip and tear the Anstenii scum limb from limb. The Anstenii fought like cornered [rats], but their plasma bolts and energy blades barely broke Groth’s skin, mostly they just burned his fur.

Groth made sure to cripple the leader by crushing one of his legs, before he turned and mauled the lackeys into a fine violet paste. The chaff dealt with, Groth took his time with the sniveling captain. [Section redacted due to graphic nature of events]. The monster’s punishment was unfortunately cut short as Groth received a message from his crew. They had just finished mopping up the Anstenii invaders. They enemy assault team had decided to fight to the last. Not that it had mattered much. While an Anstenii could make quick work of a Nimean; they had been ill equipped to deal with even a single Aolthundian, much less the tidal wave of tooth, claw, and kinetics that had crashed into them.

This message was shortly followed by the EWS informing him that it had managed to finally gain complete control of the human ship. Groth waved away the message, opting to finish playing with the Anstenii, but stopped when a follow up message appeared. Apparently, there were unaccounted for life signs that had been hidden in the captain’s quarters. Due to various security programs and the reinforced design of the cabin, the EWS had been unable to identify the life signs. Even with its control of the human ship, it could not manage to get a proper sensor reading of the beings inside. It was however, 98.756634% sure that the readings were not those of an Anstenii.

A couple [minutes] later, and Groth was standing in front of the locked door. Its face was pot marked with various plasma and laser burns, Groth was pretty sure he also noticed the remnants of a breaching charge where he expected the hinges should be; despite that, the door looked none the worse for wear. He sent a mental command to the EWS to open the door. With an almost silent hiss, the door depressurized and swung open to reveal a lavishly appointed room. Sitting on a couch on the far side of the room, facing away from him, sat what Groth assumed to be a human in a pink space suit. On a table just behind it, sat some sort of space helmet. The helmet was strange though, Groth was pretty sure that humans didn’t have massive ears that grew up from the top of their head like a Plaxian3. He was also pretty sure that Plaxians were not a common occurrence on this side of the galactic arm.

His unease lessened, as the human bobbed its head from side to side and its real ears poked through the long auburn hair of the human. Groth decided that the ‘ears’ on the helmet were simply a strange astatic design choice, instead of one aiming for functionality. Stranger still however, was the small fluffy creature that sat upon the human’s lap.

The human just sat there lightly spanking the strange small creature, singing to the beat of a ‘song’ it had made up. “Big man. A big big man. A big big stinky man”. The creature, for its part, just swished its tail back and forth. Groth could not for the life of him, tell if it was doing so in a display of anger or contentment. Having somehow caught sight, or perhaps smell, of him before the human; the creature turned and stared at Groth with a look stuck somewhere between boredom and displeasure. After a few moments of tense silence, as Groth stared at the creature and the creature stared back at Groth, it let out some kind of yowl. The noise hadn’t translated, but it had managed to shock the human out of its stupor, as if the small creature just used actual words.

“Stinky boy,” the human said, in the same sing song voice it had been using with the creature. The creature again yowled in the direction of Groth, swishing its tail with added intensity. Following the creature's eyes, the human finally noticed Groth standing in the doorway. The breath caught in her throat. At least Groth was pretty sure it was a female human; enlarged mammary glands were rare on male mammalians.

“Oh, looks like we have even more friends come to visit.” the woman commented in an offhand manner.

Groth wasn’t totally sure, but he thought he picked up a combination of confusion, fear, and... was that lust in the human’s words? No, he must have been mistaken with that last bit. He was not ugly, by his people’s standards, but that was by Aolthundian standards. Sure, he had met a few aliens he might have called aesthetically pleasing, but it was unheard of for one race to be attracted to another. At least outside of a few freaks.

“Are the other aliens still here?” the woman inquired. “I was just getting ready to go greet them, when the system glitched and I got stuck in here.” She got up, which caused the small fluffy creature to leap from her lap and start padding its way over towards Groth. “God, I’m glad the crew finally managed to get the door fixed; it’s been hell trying to relax, much less sleep, with them constantly trying different ways to force it open.” The small fluffy creature finished its slow trek over to Groth and began to rub its face and body against his leg. The human for her part looked towards her helmet and seems to decide against it, if this alien didn’t need a helmet, she shouldn’t either. She slowly began walking towards the massive Aolthundian; rolling her shoulders as she tried to work out the aches and pains of being cooped up for the last couple days. An audible *CRACK* and *pop* could be heard as she finally managed to work out a particularly nasty knot.

“Since you’re standing there, instead of any of the crew, I assume they must have eventually given up and called a professional. I suppose I should say thank you, Mister...” She let the question hang in the air.

“Groth,” Groth replied sheepishly. He silently thanked the fact that his massive frame was taking up so much of the door way. As he thought about how to break the news of what happened to her crew, something she had said bubbled to the surface of his mind. The way she talked about the Anstenii, it almost sounded like the humans had welcomed them aboard. But that was ridiculous, everyone knew that the Anstenii were sadistic sapient murderers. Then he remembered that humans had only joined the Union a scant 15 [years] ago. It was not beyond reason, that none of their people had encountered an Anstenii before. He needed answers, and he needed them quickly, lest he say something to traumatize the young woman.

“I’m sorry Mrs...?” He let the question hang in the air, trying to imitate the human’s calm demeanor.

“Oh god, how rude of me.” the woman flushed as she realized that she hadn’t even bothered to introduce herself yet. “I’m Tori Perez, but please just call me Tori.” She replied in a chipper tone. “Oh, and it’s Miss, not Mrs.” So distracted by each other, neither Groth or Tori noticed the small furry creature as it paced around their feet, until it yowled up at them. “Oh, and this is [name redacted due to copyright claim]. Also known as my Big Stinky Man.”

“If I may ask you some quick questions Miss Perez” she shot him a glare. “Sorry, Tori. If I could ask you a few questions Tori. Are you familiar with the other race of aliens that were on your ship? You see, they have a bit of a reputation; so, I'm curious how they ended up here.”

“What kind of reputation?” Tori looked mildly concerned at this reviolation. “As for how they got aboard, we found them stuck adrift and brought them on to the ship. From the reports I heard, once people got a good look at them, everyone simply fell in love. Who would have guessed that evolution could produce such an adorable hybrid of so many friendly Earth creatures.”

Groth sharply sucked in air, before letting out a sad groan. “Tori, I’m sorry to have to tell you this, but those beings are known as the Astenii. And they are as far from friendly, as one can get.”

“But if they aren’t friends, why are they friend shaped?” Tori asked. Groth could see her mind starting to make connections.

“Tori... I’m sorry to have to tell you this, but I don’t think you got locked in here by a glitch. The Anstenii appear to have taken advantage of your people’s generosity, and friendly disposition. From what I saw, I think your crew knew what was coming, and decided to lock you in to keep you safe... I’m sorry, but sensors say that you are the only human left on this ship.”

She turned away from him as teardrops streamed down her cheeks. “Those bloody idiots.” Several [minutes] slowly ticked by as Tori bawled her eyes out for her fallen crew. Groth did what he could to comfort the small human, holding her against his soft fur and awkwardly stroking her head with his massive paw. Eventually she managed to choke out a question.

“D... Did... Did they at least die well?” she finally managed to ask.

“The few not struck down in the initial ambush, managed to take down at least half a platoon between them. Looks like one of the crew even managed to sabotage the engines and distress buoy. Even knowing their end was coming, they must have wanted to protect anyone else from falling victim... The crew were eventually overrun, but they made those Anstenii bastards pay.” Groth replied in a somber growl.

“Good... Good.” she was silent for a while as she tried to process the new information. After what felt like an eternity of silence, Tori finally spoke again. “Groth? If the engines and distress buoy were down, then how did you manage to find the ship?”

“Honestly? Dumb luck. Our last raid went wrong and my ship has been limping along for the last couple [weeks] on impulse. Proximity system woke up the whole damn crew. With the lack of a signal at first, I thought I'd just found some wreck I could salvage to pay for repairs.” Groth chuckled at the absurdity of it all.

“Raid?” Tori scoffed. “Did I just get saved by a bunch of pirates?”

“I prefer the term ‘Privateer’, thank you very much.” He scrunched up his face in his people’s version of pride. “Anyway, after our EWS figured out that the ship was infested with Anstenii, I figured we could just kill them and take whatever booty the ship had.”

“Oh? The big space pirate wants to plunder my booty, does he?” Tori asked in a sultry voice.
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MY EDUCATIONAL SOFTWARE OF EXPERTISE:
SCHOOLS FROM WHICH I'VE HELPED STUDENTS IN :
As of 2021, I have tutored and helped students enrolled at the following U.S. universities community colleges county & city colleges schools for-profit institutions listed below in alphabetical order:
I OFFER FLEXIBLE PAYMENT PLANS:
TUTORING AVAILABLE FOR OTHER SUBJECTS:
THE OBLIGATORY "IS THIS A SCAM?" QUESTION:
Considering the fact that you found my contact information online, it’s understandable to be skeptical regarding the legitimacy of my services. Therefore, I’m willing to do all of the following to help you feel more secure in trusting me with your academic needs:
MY REBUTTAL TO THE OBLIGATORY “IS THIS A SCAM?” QUESTION:
At the risk of sounding arrogant, I consider myself to be at least marginally more intelligent (both academically & socially) than the average person. Therefore, if I ever decided to suddenly risk prison time, risk my reputation, and risk enduring the wrath of modern-day “cancel culture” by scamming people out of their money:
HOW TO CONTACT ME:
OCT 2021 UPDATE: I am currently offering discount deals for requests for assistance with completing a student's entire course for the Fall 2021 semester (14 - 20 week courses acceptable), as well as discounts for students seeking help with multiple exams and/or multiple classes for Fall 2021. My availability for the Autumn 2021 / Fall 2021 semester will likely become limited very quickly as I receive more and more academic requests. Therefore it would be very advantageous to reach out to me for academic assistance before my schedule becomes too full.
MY CONTACT INFO:
IMPORTANT: When reaching out, please try to include the following information in the initial text message or email so that I can have all the important details necessary to determine the rate for my services:
submitted by Lazy-Citron-643 to Statisticshelpers_ [link] [comments]


2024.05.06 19:58 frogG_v12 Was looking up muscle anatomy for a science project and this popped up 💀

Was looking up muscle anatomy for a science project and this popped up 💀 submitted by frogG_v12 to shitposting [link] [comments]


2024.05.05 12:53 CaliferMau Any good physical resources for muscles/joints and their actions?

Hey all! I’m underway for my gym instructor training to progress through to becoming a PT. While the notes and lectures are alright, and having jumped ahead to do the “advanced anatomy “ lectures, I’m not finding the material is the greatest. Are there any books/textbooks that you can recommend that covers musculature and joint actions?
submitted by CaliferMau to personaltraining [link] [comments]


http://rodzice.org/