Enili is one of the largest southern princedoms, the strength of which is heavily reliant upon the support of the Kawriq Empire. It is ruled by a prince, currently Izevel, who is the head of the princedom senate, overseer of the court of judges, and possesses unquestionable executive power within the nation.
The soil there is of a bright orange to dark brown coloration. Alhough it does not hold many natural resources, it is a treasure in itself, fertile and capable of sustaining great forests and farmlands. Woodwork, harvested crops, livestock meats and furs, woven fabric, pottery and glass, as well as experienced professionals make up most of the country's exports. Metals, spices, alcohols, scrolls of papyrus and many other materials need to be purchased from merchants from the north, east, and west. The people of Enili commonly use clay tablets for writing and notation, but since the nation fell under the influence of the Kawriq Empire papyrus scrolls began to significantly gain on popularity.
The princedom does not possess a large army, and its city lacks in strategic defenses. However, it does maintain a fleet of over fifty state-owned ships to deal with pirates and perform escorts of important individuals and resources, while the city militia is numerous, well-trained, and well-equipped.
The City of Enili, located on the most eastern flank of the Kawriq civilization and easily accessible from land and sea by travelers and merchants from far away, has become a safe stop for those travelers. It allows them to rest in their journey, make repairs to their vessels and equipment, and resupply at a relatively cheap price. Many buildings at the center of the city were built out of white imported marble and sandstone, while on the outskirts wood and orange clay bricks are the most dominant materials.
The city has been expanding both in population and size at an unprecedented pace for the last few years, reaching no less than one hundred thousand citizens, about sixty thousand non-citizens (mostly immigrants from Kawriq, and people from the dry and hot north) and thirty thousand peasants with limited rights. To gain a citizenship and the benefits it grants one has to serve at least twenty four years in the city militia, navy or military (and half as much to become a half-citizen) or be born to a pair of citizens, or one citizen and one half-citizen. Half-citizens are effectively citizens who were born to pairs of a citizen and a non-citizen, however child of a pair of two half-citizens will always be a non-citizen. They can improve their status and become a full citizen by paying a half-citizen tax for twelve years and completing a written test of citizenship.
The city posses a primitive, mostly covered sewage system, making it suprisingly clean and pleasant-smelling for its size.
The faith of the feathered twins has recently become the main religion, and while the cults of most of the lesser gods have died out or been nearly completely abandoned, however their statues and symbols are still understood to attract good spirits. They are still actively prayed to, but more as a group. Those relics of the past can often be seen in public meeting areas and households, bringing luck to the citizens. Similarly, the fossils and bones of long-dead animals have always been understood to protect from tge evil spirits, the fuller and more accurately articulated the skeleton, the better. In accordance with the dominant Enili philosophy known as the "palace of the higher needs," no temples or ancient statues were purposefully demolished. Instead, they were repurposed to serve the feathered twins. The religious conversion was mostly swift and bloodless, thanks to countless public speeches by philosophers, government officials, and public representatives, as well as successful negotiations between interested parties.
There are many skilled craftsmen living within Enili, purchasing raw resources from merchants and selling finished products with profit. Many private, priesthood-owned and state-owned schools exist there, the most well known of which is the Enili School of Craftsmanship and Philosophy, located in a repurposed ancient temple on the western bank of the river Izu. According to many the Enili School represents the highest standard of education in all southern princedoms. A large population of alchemists lives in the eastern part of the city, producing and selling a great number of elixirs of questionable effectiveness, though there are many things they produce that have been proven to function as intended, coloured glass being one of them. The woodwork sector is also strong within the city, producing great art, furniture, and sturdy ships of the Enili pattern. Many poets, artists, sculptors, architects, engineers, and philosophers also live within the city, and their works are the pride of Enili people.
The coinage there is somewhat unusual. The "unicorns" are the very recently introduced coins of the highest value. They are round, made of platinum and iron, and bear the image of the creature on one side and the stylized profile carving of Izevel on the other. They are worth one thousand of the golden coins each. The "envoys" are the second most valuable coin, made of gold, square, and with a hole at the center. They bear the image of two envoy birds on one side and the ruler of the Kawriq Empire on the other. There is also another, older version of this coin still in use called "phoenixes," which has the image of a phoenix on one side and the likeness of either Izevel, Izevel's father, or another old ruler on the other. Each golden coin is worth twelve silver coins. The triangular silver "altars," each with a hole in the middle, bear the images of a fish, a crowhorse, and wheat, respectively in each of the corners, and the panorama of Enili on the other side. Each silver coin is worth twelve of the round coloured glass coins, known as "tokens", which can bear a great variety of state-mandated symbols, and are mostly orange in coloration.
The Morning Mountains Colony is a territory aquired relatively recently by the Princedom of Enili by a threat of force and exchange of many coins. It's a small but growing city located near the source of river Izu, counting around ten thousand non-citizens in population. It is ruled by a council made up of its inhabitants and a governor from the City of Enili. The Colony is relatively prosperous and content with it's current political situation. Trade has significantly increased since it joined the princedom, living conditions have improved and a few schools and roads have been built. It's better fortified than the City of Enili, with a steep cliff protecting it from one side and a palisade from the other. The Colony possesses a military force counting around one hundred armored envoy riders, three hundred crowhorse-riding archers, three hundred infantry and ten ships. The purpose of this very expansive force (maintained mostly from the taxes of the citizens of the City of Enili) is to protect the trade routes, eliminate bandits, maintain peace and protect the north of the Princedom of Enili.
https://imgur.com/a/1rowOEA

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Digital technology in the early years: The importance of everyday learning opportunities to build young children’s digital technology skills

This factsheet will support early childhood professionals to:

• broaden their understanding of the inclusion of digital technology in the early years
• explore effective strategies to embed play-based digital practices
• support children’s concept development of digital technologies

As a co-author of the Early Childhood Australia (ECA) Statement on young children and digital technologies, can you explain the rationale for creating this statement? How can it support educator practice with regards to building children’s digital technology skills?

The ECA Statement on young children and digital technologies was created to support adults to make decisions about technology use ‘with, by and for’ young children. Increased recognition in the sector that young children use a range of technologies at home and in their communities, for playing, communicating and accessing online content, suggested that digital learning in early childhood settings was timely. The statement highlights four main areas of children’s learning and development: relationships, health and wellbeing, citizenship, and play and pedagogy. It also invites educators to think about how they understand technologies and the role of technologies in the lives of children and families.
This includes thinking about what is known as ‘philosophy of technology’ (Gibbons 2010). Philosophy of technology is a body of knowledge that proposes different ways of thinking about the relationship between people and technologies. Just as there are theories of play and learning that educators can refer to, there are philosophies of technology educators can draw on to think about using technologies with children. Three of the main philosophies of technology are technological determinism, substantivism and critical constructivism. Technological determinism is the most commonly held view. This view suggests that technologies cause or determine what happens to people. Some people hold a negative view of determinism: for example, thinking that technologies reduce the quality of children’s imaginative play. Other people hold a positive view of determinism, believing that technologies support children to communicate with others. Substantivism considers how technologies shape practices, or what people do in their daily lives over time. Critical constructivism posits that technologies are always designed and used by people according to human values. This view suggests that people can make active choices about how and why they use technologies that are relevant to their lives, such as people using videoconferencing during the pandemic to connect with family and friends.

The Victorian Early Years Learning and Development Framework (VEYLDF) refers to five Learning and Development Outcomes for children. Outcomes 4 and 5 explicitly mention the inclusion of digital technologies in children’s learning. What are some effective learning experiences that explore everyday opportunities to build children’s understanding and use of digital technologies?

Technologies are part of children’s lives; however, not all educators are comfortable with using technologies in children’s learning. Rather than focusing only on the technology in digital learning, think instead about the ways in which technology creates opportunities for meaning-making. For example, making meaning using technologies may involve taking photographs, creating videos or slideshows, co-sharing digital content, or coding with robotics. Meaning-making can also be about understanding how we live with and use technologies in our daily lives. Meaning-making for understanding does not have to involve using working technologies. Children can create their own non-working technologies from available materials (such as boxes, blocks or paper) to participate in sociodramatic play that provides opportunities for talking about how and why technologies are used. For example, children might make their own mobile phones and use these in their play to send messages to each other and take calls. Educators can help children in this play by inviting children to use technologies in ways that are respectful of relationships. Are the children having a pretend meal together? Can educators invite children to put their phones away while they eat? Or if children are taking pretend photographs of each other, educators can be sure to model asking for consent. Educators can also create representations of technologies that help children learn about the internet and how information and data are shared over a network: for example, using string to ‘connect’ non-working devices in a home or office corner to help children learn about the internet as a network of connected technologies. Children can ‘send’ messages, emails or content to each other as paper notes attached to the string. Educators can invite children to consider if they know who is sending them messages or where the content has come from. This provides children with an everyday opportunity to learn about the internet and safe online behaviours.

The VEYLDF states ‘Assessment is designed to discover what children know, understand, and can do’. What does this look like in terms of children’s trajectory of learning around digital technology? How might educators connect their observations of children engaging with digital technology to children’s learning and development across other domains?

Children are likely to follow a developmental trajectory when using technologies due to their experiences using technologies at home and in the community, with their family, friends and peers. Children’s experiences with technologies are variable and so they will come to early childhood education and care settings with a range of technological knowledge and skills. This can depend on the access children have to devices, reliable internet and opportunities for adult engagement during technological activity. Educators can observe how children build their capacity to use devices over time. This is important because some basic operational knowledge with technologies is required of children as they enter formal schooling. For example, do children know how to turn technologies on and off? Can children point, touch, swipe and resize using a tablet? Pre-school aged children may also exhibit technological language, such as download, upload, click and save, and will probably know the difference between still and moving images. This language helps children communicate and share information with other people, including family members and peers. When children use technologies, educators can also support connections with digital media or content that supports children’s identity. For example, which programs or games do children enjoy at home and how are these recognised in the classroom? This can be achieved by providing children with access to pretend technologies and apps, such as a cardboard box representing a touchscreen device, with cut-outs of their favourite applications. Other examples include learning about digital media interests alongside children, examining and sharing storylines, or providing opportunities for children to express digital media interests through more traditional play, such as box construction, drawing or painting. Using internet-connected technologies also provides opportunities for children and educators to access information to resource play and learning, such as through video content, or well-curated resources from reputable early learning providers in topic areas including science, mathematical thinking, history, music and visual or performing arts.

The VEYLDF identifies eight Practice Principles that illustrate the most effective ways for all early childhood professionals to support children's learning and development. One of these Practice Principles is ‘Partnerships with Families’. What are some effective strategies to engage families in discussions about digital technologies and young children?

Families are central to children’s learning and development. When educators engage in discussion about technologies with families, they can help adult caregivers facilitate positive digital learning opportunities for children at home. The VEYLDF states ‘Early childhood professionals … actively engage families and children in planning for ongoing learning and development in the service, at home and in the local community’ (VEYLDF, p. 9). Many organisations in Australia are involved in promoting and supporting young children’s safe and productive engagement with technologies, with tip sheets, videos, infographics and games. Educators can invite families to use these materials with children to explore topics such as staying safe online, being active with technologies, using technologies to support social relationships, and fostering children’s digital play.

What would be some final key messages for educators who want to support children’s digital skills and understanding?

Two key messages are important for educators thinking about supporting children’s digital skills and understandings. The first message is to start involving children in digital opportunities that feel achievable within the service. Not all services have access to technologies and not all educators feel comfortable using technologies with children. Programming can involve using non-working technologies in children’s play, such as using a block in pretend play as a mobile phone, or teachers creating representational technologies for children to use in the home corner (for example, printed life-size copies of tablet devices). Working technologies do not need to be complicated. While coding, robotics, digital microscopes and augmented reality provide highly engaging learning opportunities, children can also learn from educators modelling appropriate technology use on more accessible technologies, such as touchscreen: for example, by asking permission to take photographs or fact-checking information online. It may also be helpful for services to complete a technology audit – such as the eSafety checklist for early learning services – to see which technologies are available for children and where these might be integrated with ongoing learning opportunities in the service. For example, digital music can be incorporated into rest times, or children can be provided with opportunities to create digital drawings alongside traditional mark making.
The second message is to understand that young children today are part of a digital world. At any one time there are more than 8000 satellites around the earth that are sending and communicating information and data. It is becoming harder and harder to isolate children from technologies because so much of the world is now digital. It may be more helpful to think intentionally about supporting children to live within a digital world. The VEYLDF states ‘Early childhood professionals … use intentional teaching strategies that are always purposeful and may be pre-planned or spontaneous, to support achievement of well-considered and identified goals’ (VEYLDF, p. 15). This shifts the pedagogical focus from trying to keep children away from technologies to thinking about the purposeful use of technologies with children, allowing children to develop the knowledge and skills they require to participate in a digital world.

Questioning and listening

Asking questions and then listening to the answers can propel children’s learning, and it is this approach that is at the heart of an inquiry model. Questioning and listening are essential in any learning relationship, and they are both part of an active process where you do not just listen and question children but also interpret, respond to and make meaning of their thinking and learning processes.
The pedagogical strategy of listening can provide educators with a new framework in which to consider their role in children’s learning and development. When educators look deeply at what holds children’s attention, the result is that children and adults are able to recognise capabilities and qualities in each other.
Do not always rely on asking questions and trying to provoke answers as a way of engaging with children. Educators who give children the time, space and resources to think long and deeply are often rewarded with rich responses.

‘The right question at the right time can move children to peaks in their thinking that result in significant steps forward and real intellectual excitement. Although it is almost impossible for an adult to know exactly the right time to ask a specific question of a specific child – especially for a teacher who is concerned with 30 or more children – children can raise the right question for themselves if the setting is right.’ (Millikan, et al 2014, p. 69)

The value of questioning cannot be overstated, particularly when working with a pedagogy of inquiry. You need to consider what directions you are leading children with your questions, as well as what type of questions you ask children. Are they ‘thick’ questions or ‘thin’ questions? That is, are they questions that are open ended and encourage children to think broadly or do they close off children’s thinking?

Wonder and uncertainty

Wonder and uncertainty are necessary dispositions for learning. Both of these dispositions are considered important when working with a pedagogy of inquiry. As Moss says, ‘Such learning is also more likely to happen and be welcomed when wonder or amazement are valued’ (Moss 2019, p. 74).
Rich learning opportunities can happen when you include these dispositions in your daily practice. This is not a closed-off, linear way of working but rather one that allows you to remain open to the ideas of children, their families and your colleagues.
When you work with dispositions of wonder and uncertainty, it encourages a flexible way of thinking and working in which hypotheses might be made but are also subject to change. This is not an approach that has pre-determined outcomes.

Top tips for working with a pedagogy of inquiry

• Read, listen or watch something that might shift your thinking or that supports you to develop a growth mindset. Learn something new to bring back into your work with children. This does not need to be related to early learning. Learn something that fires up your neural pathways. An educator’s area of interest or enthusiasm can have an inherent trickle-down positive impact on children.
• Adults can often anticipate difficulties and resolve them for children, and this does not give children the opportunity to think for themselves and provide solutions. Educators should aim to create a culture of ideas rather than a culture that provides all of the answers.
• Design your environments carefully, with attention paid to the intentional use of resources, materials and provocations, and provide children with extended periods of time to re-visit these.
• Educators need to follow children’s footprints – that is, the directions of their learning. This is only possible through a process of reviewing and reflecting on your documentation materials. It can be useful to consider what you know, what you don’t yet know and what you would like to find out more about. Gathering clues about children and then asking rich, deep questions adds great value to the development of any inquiry project.
• Give children time to be curious, to wonder, and to discuss and adjust or change their opinions.

This fact sheet was developed by the Early Years Unit at VCAA

This fact sheet was developed by the Early Years Unit at the Victorian Curriculum and Assessment Authority (VCAA) and supports information presented in the VCAA on-demand webinar ‘A pedagogy of inquiry to support integrated teaching and learning approaches’. Watch A pedagogy of inquiry to support integrated teaching and learning approaches webinar video.

References

Duckworth, E 1996, The having of wonderful ideas and other essays on teaching and learning, Teachers College Press, New York
Edwards, C, Gandini, L and Forman, G (eds.) 2012, The Hundred Languages of Children: The Reggio Emilia Experience in Transformation, 3rd edn, Praeger, Santa Barbera
Moss, P 2019, Alternative Narratives in Early Childhood, Routledge, Oxfordshire
Touhill, L 2012, ‘Inquiry-based Learning’, NQS PLP e-Newsletter, No. 45

Using the VEYLDF to inform your practice

As part of the Education and Care Services National Law (National Law) and the National Quality Standards, the Victorian Early Years Learning and Development Framework (VEYLDF) is an approved learning framework. As an approved learning framework, it has the potential to make you a better educator and your practice more contemporary.
The VEYLDF allows us to reflect on learning and development outcomes for children. As educators, we can reflect on our own practice in supporting all children by considering if our work aligns with the Practice Principles. The VEYLDF provides us opportunities to inform our pedagogical decisions and to critique or challenge our existing practices.
The VEYLDF also provides a shared language and understanding for all early childhood professionals and can inform conversations with families, colleagues and other professionals working with young children.

Additional resources that might be useful

Download copies of VCAA early years resources.
Keep up to date with new resources and professional learning opportunities by subscribing to the VCAA Early Years Alert.
A pedagogy of inquiry to support integrated teaching and learning approaches
Download the fact sheet

‘The hands lead us to learning’: Enhancing and extending children’s fine motor development through playful learning experiences

This fact sheet is for educators who want to better understand:

• how educators can think more broadly and deeply about fine motor development in infants and children
• the interplay between fine motor development occurring in play and in relationships with adults, caregivers and peers
• the importance of routines as learning experiences with embedded fine motor learning opportunities.

Introduction

Children’s fine motor skill development – that is, their ability to use their hands – is strongly connected to their play.
Infants’ efforts at motor control commence early. An example of this is the infant who actively reaches towards the face of a person who is physically close to them and engaged in a responsive and attuned relationship with them; the adult, carer or older sibling is perhaps smiling and ‘cooing’ while they are focusing their gaze on the face of the child, who reaches out towards their face.
We understand, in general terms, that the progression of motor development occurs from the centre of the body to the periphery, known as proximodistal progression, or from larger motor control to finer movements. However, over time we have gained a more balanced and nuanced understanding of motor development and we can now see early fine motor development before trunk control is consolidated. Gross motor development leading to core stability and support remains foundational, but earlier attention is now given to fine motor endeavours of infants, with an appreciation that ‘the hands lead us to to learning’.
We understand that gross motor development and fine motor development occur simultaneously and in the context of responsive relationships and purposeful learning spaces. Adults engaging in contingent and attuned interactions with infants provide ‘serve and return’ opportunities and rich responsive learning experiences. Children actively engage, using their growing fine motor dexterity and strength alongside their learning in other developmental domains such as language and cognitive capabilities. It is the interplay between these supportive relationships and children’s growing capabilities that fosters children’s wellbeing. This is now understood to increase the likelihood that infants will confidently explore their world and this exploration is in large part through their hands.

Can you explain the relationship between gross motor skill development and fine motor skill development? How does one support the other?

When we consider that gross motor skill development and fine motor skill development occur simultaneously, we can see the importance of early childhood professionals providing positive and responsive interactions and relationships throughout the day. The way the early childhood professional engages with the infant or young child provides opportunities to progress development.
The early childhood professional who ensures regular ‘tummy time’ is providing opportunity for infants to strengthen muscles, leading to greater core stability. This core stability is foundational to the later skills of sitting up, crawling and walking. These are important skills indeed, however, there is a need to balance this ‘tummy time’ with opportunities for the infant to be positioned on their back, or in a supported sitting position, where they are freely able to explore with their hands.
Thinking of fine motor development at its beginning stages helps us to actively create opportunities for children to explore with their hands. This in turn promotes children’s sense of agency and wellbeing, which is often associated with using their hands. The more children actively do, the more they feel that they can build, create, explore and express themselves.
We are often quite mindful of assessing children’s physical skills progression. Learning experiences, including playful routine times, provide golden opportunities to assess children’s sequential fine motor development from reaching and releasing, from palmer grasping to pincer gripping and so on. Progression along trajectories of learning (including motor skill learning) becomes apparent and provides the basis for tailored learning experiences.
It is important to consider children who require additional support with gross and fine motor skills. Thoughtful planning ensures we set up environments in which all children can feel confident in developing their gross and fine motor skills and feel a sense of agency and control. As we delight in their endeavours, with thoughtful planning we can build children’s sense of wellbeing, identity and connection to their world. Children become able to confidently explore and engage with social and physical environments through relationships and play.

What kind of playful fine motor learning experiences should educators consider when setting up early learning environments for children three to five years old? What are some effective playful strategies for supporting fine motor development?

Three to five years is a fabulous age for more complex play scenarios, with children using multiple learning domains simultaneously and in increasingly sophisticated ways. Again, ‘the hands lead us to learning’ and this is expressed in so much more than just writing and drawing. Indeed, children are extending and consolidating an increasing range of skills at this age.
The work of researchers Susan Knox (2008), and Karen Stagnitti and Louise Jellie (2006), can be used here to consider planning for play in reference to four elements: Space management, Materials management, Pretend play and Participation. This research, while based in occupational therapy, aligns well with the Victorian Early Years Learning and Development Framework (VEYLDF) and places children’s wellbeing at the centre of play. Practitioners are encouraged to consider how to promote participation by all children, inclusive of all abilities, through careful consideration of the environment, materials and pretend-play opportunities. This research provides a thorough and holistic view of children’s learning, recognising that children bring increasing cognition, language, social skills, fine motor development, creativity and agency to their play. Child-led play is key, but the educator must also consider how to promote play opportunities that take children beyond their most frequented play spaces. This requires a more creative use of learning environments, inviting children to participate in spaces and skills they may not have previously sought out independently.
One example is to set up a restaurant, where children are invited to navigate the space and engage with a variety of fine motor skills during a complex pretend-play scenario. This embeds learning in meaningful ways, with multiple learning areas at play. Children can take on various characters while engaging, negotiating and problem-solving. Fine motor skills are practised purposefully as children take written orders, write or draw a menu, cut up paper to make money, set up a cash register, dress up as waiters, pour drinks, prepare food and set up tables. The opportunities are endless and can be tailored to children’s interest and skills to provide challenge, practice and delight. For example, bi-manual skills are promoted in this scenario when opening containers and stirring bowls of food, where hands undertake different tasks at once – one hand holding and stabilising while the other hand turns or stirs.
Educators need only a creative mind in planning for all four elements, and the learning opportunities are endless (‘Early childhood professionals … use intentional teaching strategies that are always purposeful and may be pre-planned or spontaneous, to support achievement of well considered and identified goals’ [VEYLDF p. 15]). Inclusive thinking may see this play space provided outdoors, inviting in children who may be less likely to engage indoors (intentional support strategies also promote equitable participation in play for all children and meaningful ways to demonstrate learning [VEYLDF p. 12]).
A creative and inclusive approach asks us to consider the environment in numerous ways, offering a wide variety of materials, setting up play spaces that invite self-management and challenge, and following the increasingly complex play scripts or pretend-play scenarios of young children.

What are some everyday routines for children that might provide opportunities for supporting fine motor development?

Routines and transition times offer a wealth of fine motor experience and abundant opportunities for promoting children’s agency and self-responsibility. Additionally, they are highly repetitive daily experiences – treasures for practising fine motor skills. Encouraging independent skill development during these times, with warmth and high expectations for children, can turn a range of daily tasks into important learning rituals.
These rituals connect children to their peers and to their space, building confidence, connection and wellbeing. Children’s active participation provides many and varied fine motor movements at different times, such as taking care of their belongings at entry and departure times, dressing and undressing, setting up for meals, toileting and setting up play or rest areas.
Regular communication with families allows the progression in children’s skills to be shared between educators and families. This can reveal collaborative opportunities across home and the early years setting, and align our expectations for children. Playful and routine practice opportunities abound, with partnership between educators and families building children’s confidence and capacities (VEYLDF p. 9).

‘To play or not to play’: The role of the adult in understanding and collaborating in children’s play

This fact sheet is for educators who want to better understand:

• the role of the adult in supporting children’s learning and development through play
• how to build reciprocal relationships where children and adults are co-contributors to the creative process.

When we think about play within the early learning context, we often think of it as being ‘fun’ and occurring naturally – it is often referred to as being universally understood. Is this the case, or is it more complicated than that?

Children’s play encompasses many ways of being and becoming. Play is linked to fun, but this is just one way of being and does not speak to the complexity of play. Fun is fleeting. Parts of play can be joyful, frustrating, exciting, annoying, challenging, hilarious and, at times, uncomfortable. Play includes many emotions and experiences. Sometimes children are excluded from other children’s play – is this fun? What children are doing in play is complex – navigating limbs, expressing ideas, listening to others, creating novel worlds and negotiating with peers. Therefore, the emotions and feelings that children experience are varied.
Children are experimenting with and expressing their worlds, and the collaborative activity of play requires many skills. Ebbeck and Waniganayake (2016) tell us that in play ‘children are constructing an identity – who they are, what they know and what their joys and fears are, as well as their sense of belonging to a family and a community’ (p. 3). This understanding captures the richness of play, which is not limited to one way of being. Seeing children’s play as multifaceted allows educators to holistically understand children in the early childhood context.
Play is a universal activity that children engage in, as reflected in the United Nations Convention of the Rights of the Child (UNCRC, 1989). But while there are similarities that occur in children’s play across the world, when we look at and hear what children are doing and expressing in their play, we see that it is also informed by their culture. For example, in dramatic play, being ‘Bluey’ or making cakes in the sand pit are activities that are directly taken from the child’s day-to-day culture. The people, places, objects, practices and rituals in the child’s culture fuel their play, and play is thus an expression that reflects the culture the play is taking place within.
Children bring into the early childhood setting individual, family and community experiences that reflect their culture, giving educators a rich tapestry to understand the child’s perspective of their world. Roopnarine’s (2011) quote is helpful to understand the links between play and culture: ‘A fundamental problem with universal claims about play is that they basically ignore contrasting realities of childhood experiences and cultural forces that may help shape caregivers ideas about play and early learning, and children’s role in their own play.’ (p. 20)

Given that there are many different theories that inform our approaches to children’s learning and development, does the role of the adult vary in supporting children’s development in play?

Theories can inform teaching practice, as being able to hold other ideas and perspectives allows us to see things differently. Theory is helpful for understanding the world around us, and in the early childhood education and care (ECEC) context, theories can inform and change our practice.
Developmental theories are varied and vast, and contemporary framings have become quite different from the more foundational knowledge, reflecting the diversity of our societies. The field is not stuck on linear and fixed stages. Practitioners work with the children in their care, taking into consideration their contexts, environments and families, and using various theories and research to inform their practice.
Teaching practice varies, and theory and research can assist educators’ practice. For example, contemporary theories remind us that children’s play is not simply something that happens naturally; these theories consider group dynamics, equity, social justice, advantage and disadvantage, and the way power moves between the players. They also explore the ways that understanding children’s lives outside the early childhood setting can inform teaching and program planning. Contemporary theories can open us up to other views, and while many of these have existed for a very long time, they haven’t always been prioritised to think about children, context, difference and learning.

How can we ensure that the play opportunities we create for children help build collaborative and reciprocal relationships between adult and child?

The following diagram from page 15 of the Victorian Early Years Learning and Development Framework (VEYLDF) shows the three aspects of integrated teaching and learning, and holds great clues about the educator’s role in children’s play.
📷
This diagram can be used by educators and teams to reflect on their practice. Guided play and learning prioritise the educator responding to spontaneous learning opportunities. Reciprocal two-way exchanges create a balance of children guiding adults, and adults guiding children in dialogue and action. This becomes an improvisation that follows unknown paths, opening up opportunities to collaborate by creating something that did not exist before. When adults are playful with children, multiple perspectives are valued in the collaborative space.
Thinking of educators as co-contributors to the creative process of play speaks to the notion of responding to children’s interests. However, it is useful to adapt this slightly to instead think about responding to the child’s learning. Interests can be transient and surface-level; focusing on children’s learning is more expansive and process-orientated, as learning involves both thinking and enacting through play. This way of working asks educators to respond to spontaneous opportunities that arise, and play affords this responsive practice. Play is a relational activity between children and place, children and objects, children and children, and between children and adults.
Educators are respectfully cognisant of not wanting to take over too much control of children’s play, and when they improvise with children, finding a balance of following and leading, they can incorporate multiple children’s ideas and wonderings in the embodied play narratives. When teachers make use of children’s expertise, it supports children’s agency as their decisions influence the current events within the play. The playful interactions between the educator and children are fluid and unpredictable, mirroring drama pedagogue’s use of an improvised inquiry. Of course, we would not advocate that the educator enters children’s play all the time; this does not align philosophically with play and the ECEC context. However, at times, being a co-player with children speaks to a responsive pedagogy where creative collaborations can occur in play.

What is the relationship between play and learning?

When adults engage in play with children, they can incorporate formative assessment to develop their understandings of the children and inform their planning. Socio-dramatic play is one way children express their imagination. When educators are with children, they are hearing and seeing children’s imaginations enacted, giving rich information about their learning. In play, children are also blocking out other distractions to problem-solve in the moment, and taking on other perspectives, both from other players and in their own role-play. These are all skills that are linked to our executive function, which is the ‘process of how we learn’ (Yogman et al. 2018, p. 6).
When educators are respectfully engaging with children in play, they are part of the collaboration, co-creating something that is novel and only exists between the people in this activity. If educators are only observing from the outside, how can they understand this process? When educators are part of children’s play, they are in the heart of the learning, and it can open up opportunities for understanding children’s working theories and learning processes. What the educator notes when they engage in the play can be documented as part of the planning cycle, and analysed so that understanding the child’s learning within play is extended through planning.

Life is but a dream? more like LIFE IS BUT A FUCKING NIGHTMARE!
I Grew up with Avenged Sevenfold in my teenage years, they were one of the first Metal bands i actively began listening to, and Nightmare, to this day, is still one of the best Metal album to me
Come Hail to the King and these guys shamelessly ripped off Alice in Chain, The Entire song of "Sad but True" by Metallica, thinking we won't fucking notice it, but fine, because after that they gave us the Stage which was sort of a flop, but at the same time, a return to form, and with a concept that actually aged really fucking well, I won’t pretend to be a genius when it comes to reviewing music, or any kind of Media in general, I don’t use fancy wordings like someone from fucking Loudwire, or Metalc(s)ucks, or even fucking Metal Injection, and quite frankly, I think my reviews suck, I don’t have much faith in them, I just type whatever comes to my mind, but once in a blue fucking moon, a record either manages to take me off my feet with how good they are, or, how fucking atrocious and disastrous it is, so come the new Avenged Sevenfold album and its quite literally the worst fucking album they could have ever made, this makes Hail to the King an actual 10/10 in comparison, there is not a single positive I could write about this shit, it would be like picking up a dog turd from the street and tossing it in the garbage, at the end of the day, you did something for the environment, but at the cost of dirtying your hand with literal shit.
There is 5 factors I take into account when im deciding if an album is worthy of a certain score, and the list is as follows: Vocals, Musicianship, Production, Lyrics, and lastly Instruments.
Let’s start with the Vocals, because oh my fucking god it’s nails on a chalkboard, it’s like someone is actively trying to brainfuck me through my earhole with a rusty and molded Drill, I’d rather walk on fucking legos for the rest of my life than dealing with this fucking vocals, whatever the hell M Shadows is trying to do in this shit is NOT working, the opening track has some really ass tier lyrics (which I will get to later) and M Shadows does the wimpiest, Shittiest, tired, nasally and processed screams I probably ever fucking heard, this makes Danzig in his current time look actually fucking amazing in comparison, this makes Vince Fucking Neil sounds almost audible, Almost is the keyword here, because the vocals gets progressively way fucking worse, M Shadows cannot hit any fucking right notes, nor the highs, nor the lows, no in between, nothing, they all sound forced and as if someone was kicked in the balls and let out the most desperate cry but with the voice of Lisa Simpson, And DO NOT EVEN GET ME STARTED ON THE SINGLES! M Shadows’ vocals gets progressively way fucking worse the more this album drags out its 53 minute runtime, and it doesn’t fucking help that M Shadows actually admitted in an interview that he and everyone else was high out of their fucking mind and decided “you know what? We should make the shittiest Mr. Bungle Rip-off we can with Nobody and We Love You!” Nobody is one hell of a fucking title because I wish Nobody had to fucking write this tired, phoned in, ‘we had to make music to please our record label’ type of fucking music, this is a band actively pissing off whatever goodwill they had, and that’s not even mentioning the Fucking NFT and “Deathbat club” shit they have going on, that is a topic for a completely different discussion, going back, Nobody was the first single, and the beginning sounds like someone shoved up a tuba in Synyster Gates’ asshole and let out the loudest fart he could possibly do, the entire fucking song sounds disjointed and as if it was recorded by a fucking cover band, not a multi-platinum selling Metal band who SHOULD have at this point DECADES of experience, like Jesus fucking Christ in a Maid Outfit HOW THE FUCK DOES SOMEONE FUCK UP SOMETHING THIS HARD?! It’s fascinates me because this band made one of the best album in the form of Nightmare, then they actively fucking made the middest music imaginable, Nobody sounds like it’s walking with fucking crutches, Nobody is so fucking bad that every fucking fiber of my body is actively telling me to stop listening to this, listen to a better band, but because I am a fucking Masochist I suffered through it, it doesn’t get better, oh NO IT DOESN’T, skipping to We Love You, we have the Mr. Bungle rip-off that we all fucking loved when it came out (if you couldn’t tell already, that last part was pure fucking sass and sarcasm) whoever the fuck thought this was a good fucking single or a song in general to release should be fucking forced to listen to Psychosinner for the rest of their life, M Shadows tries to do some kind of spoken section mid verse with More Power More Money More Whatever the fuck the word of the day is, and it just sounds way too fucking pandering, and that is coming from someone who suffered through Skillet’s discography at one point, if it wasn’t for that I would legit thought its a fucking piss-take on Christian Rock and Metal as a whole, all it needed was some vague “we love god blah blah blah” so yeah, the Spoken word section thing did NOT work at all, and you know what else doesn’t work? DRAGGING YOUR FUCKING SONGS OUT TO 5+ MINUTES! Half the fucking album drags on for WAY TOO FUCKING LONG, and what DOESN’T HELP is the fact that nothing on this album sounds like it was written with the mind of an album, this sounds like a demo a fucking no name band shits out on Bandcamp or Soundcloud, but im getting side tracked, We Love You is a fucking shitshow of epic proportions, whoever the fuck thought they should use Autotune to make M Shadows sound robotic should be fired from their job, I’m dead fucking serious, and good to know they fucking play fucking FORTNITE with the amazing lyrics like “More Sex More Pill Build Tall Build Higher Build Wider” just for that alone, Fuck You A7X, I despise Shitnite with all my fucking passion and you making reference to that, even unintentionally pisses me off to no end, I’m already dragging the point of the vocals sounding shit, so I won’t even bother torturing you guys with this anymore, instead, let me torture you with the fact that EVERYBODY SOUNDS COMPLETELY FUCKING WASTED HERE! Seriously where the fuck is the cool solos from Synyster?! Where is the kickass and in your face drumming?! Why does everything sound so compressed?! Why does this fucking album sounds like they ran out of ideas so they tried to do the shittiest of rip-off they can think about from bands that are popular these days?! AND WHY, THE FUCK, DOES THIS ALBUM SOUND LIKE IT’S BEING PUT THROUGH A FUCKING GUILLOTINE ?! Everything that defined this band is long fucking gone, nothing is left here, just a husk, a broken down shell of a band that used to write cool stuff, even if you never liked their music, you could always respect them for putting in the work, but here? The entire musicianship is down the drain, this sounds like a band on its deathbed, the entire album is just not fun to listen to, at least there is always some redeeming quality in a bad album, or a fucking excuse why it turned out to be shit, but “Ohh nooooo M Shadows blew his vocals, the Horror!” guess who else fucking blew his vocals out? Matt Heafy from Trivium, and what did he do? Despite not being able to Scream for a while, he made Silence in the Snow in response, where he showcased his rather nice singing ability, is that album perfect? No, but it is an example that despite an album being average, the singing can be a redeeming quality of that, so I will not, under any fucking circumstances will take “BuT He BlEw HiS vOcAls OuT hE cAn’t sInG lIke He UsEd To AnYmOrE!!!” As a fucking excuse when Matt Heafy and a lot of other Metal Vocalist fucking made the best out of a bad situation and still managed to make decent recordings, also, you know what else doesn’t work on this shitshow of an album? MIXING COUNTRY WITH FUCKING METAL! It, LEGIT angers me to hear country in Metal because guess what, most of the country songs are hot garbage, all me an elitist all you want but Country nowadays sucks Donkey Balls, Maybe I’m just not looking at the right direction or the right artist but whatever because IM NOT DONE TEARING THIS FUCKING ALBUM 12 ASSHOLES YET! And this song is the longest on the entire album, clocking in at 7 and a half minutes, I am a fan of long songs, if they are done right,oh and please excuse me while I fucking bash my head into the nearest wall I can find because MY FUCKING GOD WHOEVER PUT SIREN NOISES IN THE SONG LEGITIMATELY HATES PEOPLES BECAUSE THIS IS FUCKING EARRAPE PERSONIFIED, Like my fucking God, Lucifer himself is not this fucking Satanic to try and piss humans off in Hell, Cosmic, which is the title of the song, can Fuck Right off Sideways in a Fucking Fake Taxi Casting and then blow whatever the fucking dick it can find because this song literally facefucks me with how bad this shit is, and that’s not even touching on how completely BORING the next track is, I damn near fell asleep from it when I first listened to it, it was the closest I probably got to music actually putting me to sleep from how BORING It is, and my god I already touched on the production but can I just ask why does everything sound like its AI generated? Oh waaaaait, I know now, BECAUSE AVENGED SEVENFOLD BECAME NFT BROS! AND FUCKING SCAMMING DICKHEADS! So no wonder they want to try and cater to the lowest common fucking denominator by putting out a song that makes all the NFT Bros and shills and rich companies cum from the cash they see in their eyes, also can I just ask, how do you make PIANO sound so horribly fucking bad? It’s like someone just got a cheap synth and tried to mimic how Piano sounds like but with the worst settings possible, so that’s the vocals, musicianship, and the fucking production in a nutshell, BUT WAIT, THERE IS MORE! If that wasn’t enough, M Shadows does his worst possible fucking T-Pain impression on the song Easier! Add that to the list of why the fuck does this exist: Music Edition. Anyways, that was the only noteworthy thing I could possibly point out in that song, aside from that its generic Imagine Dragons-Core, but now we have a trilogy of songs in the from of G. O, And D...wait you expected me to give them the full song title with the brackets? Sweet summer child, you are not on a fucking Simple Plan fan Group page, Anyways, G is a fucking Voivod rip-off, in the worst possible way, Did they seriously fucking think im not gonna notice that? Its a literal fucking Voivod rip-off, and on the topic of Voivod, can I ask what the fuck this shit has to do with Avant-Garde? Are peoples really just gonna put Avant-Garde in every single fucking disjointed shitty mess a fucking artist does? By that same logic Kanye West is Avant-Garde, Machine Gun Kelly is Avant-Garde, even fucking Lil Pump is Avant-Garde by this fucking logic, this is the furthest from fucking Avant-Garde, it’s a few peoples writing the shittiest of fucking “prog metal” if you can even call it that, and then selling it as some revolutionary sound while they forget that IMPERIAL TRIUMPHANT HAS BEEN DOING THAT FOR NEARLY 2 DECADES! MY FUCKING GOD THIS ALBUM FINDS MORE WAYS TO JUST PISS ME THE FUCK OFF!!! also, even more spoken words, fucking kill me, but since we are nearing the end of this fucking album how about we talk about just how shitty the lyrics are? I already touched on how fucking horrible We Love You’s lyrics are, but it’s even worse on some songs, like Cosmic, with such gems like “Pain, it founds its way back in, until we meet again, into that good night” or how about Beautiful Morning? Where it literally says “Help me to hear and hear me to save And save me before I've gone too far Let me inhale my passage to hell While slowly exhaling the scar” wow, such insightful lyrics, this is the worst fucking cliched and generic Im14andthisisdeep type of lyrics I ever saw, then we get this fucking amazing words on the opening track “Game Over” that is literally just a word vomit, don’t believe me? Then look up to the fucking lyrics yourself, half the song is just M Shadows burping out whatever the fucking word of the day is, “Open, blurry, nurture, loving Crawling, walking, fleeting, glory Welcome, brother, stranger, bloody Ally, teacher, recess, buddy Secret, toothless, fairy, pillow Money, kissing, nervous, hero Warmly ordinary, Changes, hormones, high school, threesome Roll call, study, license, freedom Novice, flirting, first time, lover Party, fighting, wasted, summer Questions, doubtful, wedding, family Happy, ever, after, dead end Daily iteration” This is literally half the fucking song! ARE YOU FUCKING KIDDING ME?! HOW DOES A GROWN FUCKING MAN COME UP WITH SUCH A SHITTY SONG LIKE THIS?! “Give me a delete button, Delete!” yeah I WISH I COULD FUCKING DELETE THIS FROM EXISTENCE! And you know you have to truly run out of idea, WHEN YOU HAVE TO USE GUILE’S THEME FROM STREET FIGHTER AS A SAMPLE IN YOUR FUCKING SONG CALLED ORDINARY!!! ARE YOU OUT OF YOUR FUCKING MIND AVENGED SEVENFOLD?! DID YOU SERIOUSLY THINK I WON’T FUCKING NOTICE IT?! DID YOU SERIOUSLY THINK FOR A FRACTION OF A FUCKING SECOND THAT YOU CAN GET AWAY WITH SUCH A BLATANT PLAGIARISM ?! If I was Capcom I would fucking sue. Plain and fucking simple, and with the album almost over and my rage ran out...mostly, how about we talk about the fucking instrument? Oh wait, there is nothing to talk about there, because the Instruments are fucking dead on this album, and when it’s not dead it’s fucking pretentious like all hell, trying to sound triumphant, sounding motivating, but only being a generic fucking Frank Sinatra rip-off by the second to last track Death, which is a fitting title considering this band is fucking Dead to me, the entire mixing is all over the place and nothing blends in together, nothing feels like it belongs there, nothing on this fucking album is made competently, but what the fuck did I expected from a band that tried to cash in on the pyramid scheme that is fucking NFTs? The Fucking Rev, is rolling in his grave from seeing what this band turned out to be, you made Bad Music and that much is fucking clear at this point, I don’t care if I look like an asshole saying this but fuck it, Avenged Sevenfold DIED with Jimmy Sullivan, The Stage was a simple fucking fluke, that aged about as well as a fucking Big Mac left in the fridge for 20 years, and im not even gonna fucking mention the instrumental closing track because MY PATIENCE HAS RAN OUT! And quite frankly, Fuck that Beethoven wanna-be fucking track, it can suck my dick for all I care.
In conclusion: THERE IS NO FUCKING CONCLUSION! THIS SHIT FUCKING SUCKS HORSE DICK! Life is but a dream? MORE LIKE LIFE IS BUT A FUCKING NIGHTMARE! Did they seriously think they can get away with this shit AGAIN?! IT DIDN’T WORK WHEN THEY FUCKING RIPPED OFF METALLICA AND WHAT NOT ON HAIL TO THE KING! AND IT SURE AS HELL DIDN’T WORK TO BE A FUCKING MR. BUNGLE T-PAIN VOIVOD CAPCOM WANNA-BE JACKASSES! Avant-Garde? WHERE THE FUCK IS THE AVANT-GARDE!? THIS IS THE FURTHEST THING OF AVANT-GARDE! JUST BECAUSE IT’S A FUCKING MESS IT DOESN’T MEAN ITS FUCKING AVANT-GARDE JUST IN THE SAME VEIN AS NOTHING IS FUCKING NINTENDO-CORE JUST BECAUSE IT HAS MIDI OR 8-BIT TUNES IN THEM! Game Over is a fucking AMAZING title because I wish this fucking album would have ended right on that stupid song, Mattel is also a fitting title because this is a fucking band trying to make their band a fucking brand in the same way Kiss or Metallica is a fucking brand at this point, I Wish Nobody would had to go through the fucking suffering that this shit is, when did peoples fucking standards went down this much?! I cannot for the life of me understand how the hell does this album have such a high as fuck rating when FUCKING METALLICA’S BLACK ALBUM IS RATED LOWER THAN THIS SHIT!!! And can I just ask who the fuck does this band love so much? Me?? Who the fuck is me?! WHO THE FUCK IS WE?! I don’t see anyone I know fucking acting like rabid dogs over something as shitty as this, I rather drink my own piss and cut my veins before I ever fucking classify myself as we or me or you by this band, If I could I would fucking steal a SpaceX rocket and send this fucking album into Cosmic with the hopes of this shit melting into the sun forever, I wanted to have a Beautiful Morning but Avenged Dickfold decided to fucking ruin it for me, it would be so much fucking Easier to just be lobotomized instead of paying any fucking attention to this band anymore, but since they are mainstream, here I am bitching and moaning like a fucking bitch in heat for a monkey to fuck, hopefully that fuck would be much better and it actually hits the G Spot instead of huffing and puffing like a pussy from getting tired after 2 minutes, I Have a new found Respect for Ordinary Man By Ozzy because while its not his best material, as well as even his latest album, I can respect him for still making the music he loves instead of phoning it in like Avenging Sevenfucktards did while also plagiarizing the shit out of everything, this band is fucking Dead to me, Death must have swung at them when they had the guts to make Hail to the King, I wish this was really just a dream, then again, Life is NOTHING But a fucking dream because DEAR FUCKING GOD I WISH THERE WAS AN ALTERNATIVE UNIVERSE WHERE I LIVE AND THIS ALBUM DOESN’T EXIST THERE! I WISH I COULD FUCKING AVENGE THIS ALBUM IN SEVEN WAYS AND THEN JUST FOLD IT UP LIKE A NEWSPAPER SO MY DOG CAN TAKE A GIGANTIC FUCKING SHIT ON IT BECAUSE THAT WOULD BE LESS FUCKING DISGUSTING THAN TOUCHING THIS PIECE OF DIARRHEA WITH A 10 FOOT POLE, FUCK M SHADOWS, FUCK SYNYSTER GATES, FUCK EVERYONE WHO WORKED ON THIS ALBUM, FUCK YOU, FUCK THE CRITICS FOR ALLOWING THIS SHIT IN MUSIC, FUCK THE NFT BROS FUCK THE FANS FOR HAVING SUCH A LOW STANDARD TO HAVE THE GUTS AND RATE THIS HIGHER THAN THE FUCKING BLACK ALBUM! BY MOTHER FUCKING METALLICA!!! And last but not least, FUCK, THIS, ALBUM! I RATHER HAVE AN EAGLE CLAW MY EYES OUT, I RATHER HAVE SOMEONE STICK THEIR DICKS IN MY EARHOLES BECAUSE THAT WOULD BE LESS OF A BRAINFUCK THAN THIS SHITTY EXCUSE OF A MUSIC! NOT A SINGLE FUCKING PIECE OF ALCOHOL COULD NUMB THE PAIN I FEEL AFTER LISTENING TO THIS SHIT INDUCING ASS LICKING BALLS SUCKING DICK CHEWING CUMSTAIN OF A FUCKING PUSSY OF AN ALBUM LISTEN TO LITERALLY ANY OTHER ALBUM! LIKE I DON’T KNOW……..Terrasite? Yeah that one is a good album, listen to that one instead, as for this album? It’s the worst album of NOT JUST THIS YEAR! BUT THIS DECADE!
0 OUT OF FUCKING 5

Nestled in northern Lawrence County, Indiana, just six miles from Bedford, lies Ramsey Ridge Road. Just under three miles in length, the rural pathway once referred to as “Skin Ridge'' winds through the sparsely populated area’s dense woods atop a hill overlooking Little Salt Creek and nearby Bartlettsville. In the 1970’s, two completely unrelated deaths occurred within the confines of a modest green house that once stood along the ridge. Referred to by locals as “The Mysteries of Skin Ridge,” this is the story of the unusual deaths of Dennis McArthur, and Gerry Lee.
Dennis McArthur
On April 11, 1976, 44-year-old Pearl McArthur returned home after a lengthy stay at Madison State Hospital. Pearl, who would later be diagnosed with schizophrenia, had committed herself to the hospital in early December, leaving her 18-year-old son, Dennis, to care for the house in her absence. Accompanied by her 23-year-old daughter, April, who lived in nearby Bedford with her husband Gary, Pearl made her way inside the small two-story farmhouse.
Inside, Pearl and April found the home in complete disarray. Trash laid strewed about, lamps and furniture were overturned, and the stove was caved in, its exhaust pipe torn from the wall. It was unusually cold inside as though no heat had been recently used, and a strange smell permeated the air.
Alarmed, Pearl and April began to frantically search for Dennis. As they made their way over to a small couch located in a bedroom on the second floor, they noticed a pile of blankets lying on the sofa. As Pearl peeled back the layer of quilts, she was met with a horrific scene; Dennis’s decomposed body lay beneath the bedding. They immediately summoned police.
Dennis was found in a fetal position on the couch, facing inwards. Although covered by quilts, he was nude from the waist down. The coroner estimated he had died one to two months prior, however the cold weather had, in part, delayed the decomposition process making it difficult to give an exact time of death. During an autopsy, it was discovered that Dennis was severely emaciated, to the point of starvation. No evidence of external or internal injuries were found.
Police discovered several bottles of pills in the home; vitamins used for energy, an antidepressant, and a drug used in the treatment of Parkinson’s disease. All of the pills were prescribed to Pearl, and were still relatively full. A toxicology test was conducted and proved negative, however the state pathologist who performed the test admitted that the test was incapable of detecting substances such as LSD. He also explained due to the amount of time that had passed since his death, the tests might not be one hundred percent accurate. Dennis’ cause of death was listed as malnutrition and exposure.
Investigators found several clues at the scene that struck them as odd. Although the cabin appeared ransacked, nothing seemed to be missing, including a small amount of money that was found within the disheveled home. Along with money, a small amount of, now spoiled, food was found in the cabinets and refrigerator. An upstairs window was found to be broken from the inside. Also upstairs, investigators discovered several large pools of blood, including one beside the couch where Dennis’ body was found. They also found blood on the backside of the couch, on a rug, and on the kitchen door frame, along with splatter on a wall. Testing confirmed the blood to be human.
Dennis was well known to both police and the county’s social workers. His mother, Pearl, was frequently in and out of mental institutions leaving Dennis and his two siblings to fend for themselves. The children’s father, Walter, had abandoned the family and moved to Georgia years prior. In 1972, Dennis was arrested for theft and truancy. That same year, he was expelled from school and never returned.
He was again arrested in 1973, this time for driving without a license, fleeing from police, possession of alcohol, and curfew violation. After his release, Dennis was sent to live with a man named Al Hagopian, a case worker for the Youth Services Bureau. Al was quoted as saying; “Finding him a place to stay was hard. The house where he had been staying was pretty grubby, and the state thought he was too young to live alone. His mother was in and out of hospitals a lot and he worried about her constantly. He didn’t want to return home, but said he had to go back to help care for his mother.”
Al discovered that Dennis “read and wrote backwards,” and was “practically illiterate.” After reviewing Dennis’ school records, he found multiple instances where teachers labeled Dennis as having disciplinary problems when it came to schoolwork, however not once did they mention he had a clear learning disability. Al further explained that attempts to secure employment for Dennis were nearly never successful. Aside from being unable to read or write, he had no vehicle. He also had no stable address or phone number and was oftentimes dirty and dressed in near rags.
Dennis’ unfair hand he had been dealt did not stop him from trying to act like an average kid most of the time, Al added. He explained that Dennis had an interest in cars, enjoyed hanging out with his friends, and was always chasing girls. He had also told Al he wanted to someday save up enough money for a new guitar, as he loved to play music. Al admitted that Dennis was also into the “street scene” and had dabbled in drugs and alcohol. Dennis returned home after two months of living with Al.
In 1974, after another arrest and his subsequent release from a youth detention center, Dennis went to live with his father for a short time. Dennis’ arrest had made headlines when it was learned the young man had been kept with adult men for a long period before being transferred to the youth detention center. Dennis and Walter reportedly couldn’t get along, however, and Dennis ran away to Florida. He lived there for a few months, washing cars to make money, before returning to the home on Ramsey Ridge in Indiana in 1975. He was again arrested, this time in Bloomington, Indiana for carrying a concealed weapon, alcohol consumption, and curfew violation. At the time of Dennis’ death, the charges against him were still pending.
According to his sister, April, she had gone to visit Dennis at the home on Ramsey Ridge on Christmas Eve. April said Dennis was sitting on the couch, playing his guitar. He also showed her a new rug he had purchased for the home. According to her, he seemed his usual self and the home was clean. April offered him some money, however Dennis refused claiming he had enough to get by.
Lucy Lively, an aunt of Dennis’ who lived “within hollering distance,” claimed she entered the home on February 1st to turn off a lamp that had been left burning. While she did not see Dennis, she claimed the home's interior was in normal order. Joe McArthur, Dennis’ paternal grandfather who also lived nearby, said it was not unusual for Dennis to disappear for long periods, so he thought nothing of the youths' absence as of late.
When Walter, Dennis’ father, was informed of his son's death, he informed police that Dennis, along with two male friends, had come to visit him in Georgia in mid December. He gave a description of the two teens and told police they had been introduced to him as “John Boy'' and “Blonde John.”
Police were able to track down “Blonde John” who was identified as 18-year-old John Fonk of Bloomington, Indiana. John told investigators that he and Dennis had driven to Florida together in October, not December, as Walter had stated. John explained they had stopped by Walter’s home in Georgia on their way back home. He was confident in the date as he had joined the Air Force in December. He also explained that “John Boy” had been a hitchhiker they had picked up along the way. According to John, “John Boy” rode back to Indiana with the pair, but he had not seen him, or Dennis since. He described him as being in his mid 20’s. After learning of the discrepancy in Walter’s story, police again tried to contact him, however phone calls and letters went unanswered. Unfortunately, they were never able to identify “John Boy.”
Further questioning of social services showed that Pearl had filled several grocery orders provided by state services, however the orders ceased when she had been again hospitalized. Eventually the Lawrence County Welfare Office had taken control and promised to look in on Dennis, however they could provide no evidence they had followed up on the case. They suggested that Dennis, overwhelmed with his impoverished lifestyle, had simply starved himself to the point of being comatose, before succumbing to the harsh cold of winter. They were quoted as saying “We were aware of him of course, but he never came to us. We don’t go looking for people if they don’t come to us for help. Now if he had, we would have done something.”
The local sheriff as well as members of Dennis’ family were unsatisfied with Dennis’ listed cause of death and continued to pursue the investigation for several months. Unfortunately due to a lack of funds, more elaborate tests that may have presented some clue as to how Dennis died could not be conducted. Sheriff Robbins was quoted as saying, “This is a very disturbing mystery, because even if someone confessed to killing him, I doubt we would have the evidence to prove it. But it sure is hard to believe he could kill himself like that, by just laying down and dying. We aren’t closing the case, it will remain open. But until we have something more to go on, there’s not much more we can do at this point.”
Dennis was laid to rest at Heltonville’s Gilgal Cemetery. Few attended the modest closed casket funeral and subsequent burial. One journalist gave a last description of Dennis’ final resting place,
“The dogwood trees are in full bloom on the hillsides of Gilgal Cemetery, and though Dennis’ body now rests peacefully beneath a carpet of fallen petals, his soul will surely never rest until the reasons behind his death are discovered.”
Pearl, Dennis’ mother, passed away in 2000 at the age of 67. Walter, Dennis’ father, died in 1988. His sister, April, passed away suddenly in 2006 at the age of 53. Dennis also had an older brother, Gordon, who passed away in 1994 at the age of 42.
Gerry Lee
On the evening of May 28, 1978, police were again summoned to the little green house on Ramsey Ridge. The home was now occupied by 27-year-old Gerry Lee, a divorced self employed carpenter, and his roommate, 25-year-old Michael Davis. When police arrived, Michael informed them that Gerry had committed suicide.
Gerry was found hanging from a maple tree located 20 feet from the home's front porch. The rope had been tied off to a branch approximately 10 feet above the ground and fashioned into a noose. His feet were found to be touching the ground, and his knees were bent. Blood was discovered on Gerry’s hands and pants, despite having suffered no visible wounds. An autopsy would reveal that Gerry had died of asphyxiation as a result of a fracture to his cricoid cartilage located at the base of his larynx. The coroner stated this was not an injury normally associated with suicidal hangings, but instead blunt force trauma to the throat. Inside, more blood was found on a television set, the phone, and on the kitchen floor. A window on the home's back door had been broken from the outside, leaving shards of glass lying on the kitchen floor.
When questioned, Michael gave an explanation for the unusual findings. He claimed that he, Gerry, and two other friends, Mike Oakly and Roberta Chandler, had spent the day in nearby Bedford before the foursome returned to the home on Ramsey Ridge. There, Michael told police that he and Gerry got into a “friendly scuffle” that resulted in Michael falling into the window in the kitchen. He suffered a deep laceration to his forehead that left him bleeding profusely.
According to Michael, Roberta and Mike accompanied him to seek medical treatment in Bedford, while Gerry stayed behind at home. Michael returned home alone from the hospital, having left Roberta and Mike in town. It was then he discovered Gerry’s body and summoned police. He added that that evening Gerry had threatened to shoot himself multiple times with one of the loaded guns kept in the home.
When Roberta and Mike were taken in for questioning, they gave similar accounts of the night's events. Both were released. Aside from having a visible wound, medical staff confirmed Michael had been to the hospital that evening, having sought treatment for a laceration to his forehead.
Still, both the prosecutor and the county coroner stated they were not entirely satisfied with a verdict of suicide. The coroner stated “Some things have not fallen into place like they should with a suicide case. Although it looks as though it could be a suicide, there are so many angles that do not fit in with the suicide verdict.” The prosecutor agreed, “I’m not satisfied with how the investigation was handled,” he said, “and there are still a lot of unanswered questions. Several months later, Gerry’s case was brought before a grand jury who ultimately returned a verdict of “probable suicide.”
Gerry was laid to rest in Bedford’s Breckenridge Cemetery. Despite his death being declared a suicide, many locals, including Gerry’s friends and neighbors, continued to believe that something more sinister may have happened that evening, and the suicide was in fact staged. The community’s more superstitious elders shared a similar belief, however adding that a “strange ethereal force” inhabited the room where Gerry once slept, and where two years prior the body of Dennis had been discovered.
Whatever your opinion may be, it seems for some the books will never fully be closed on “The Mysteries of Skin Ridge.”
Sources
Newspaper Clippings, Death Certificates, Photos- https://imgur.com/a/4kQ3rEl
Find a Grave Dennis- https://www.findagrave.com/memorial/63100083/dennis-scott-mcarthur
Find a Grave Pearl- https://www.findagrave.com/memorial/254365281/pearl-m-mcarthur?createdMemorial=Yes
Find a Grave Walter- https://www.findagrave.com/memorial/80652726/walter-rufus-mcarthur
Find a Grave Gerry- https://www.findagrave.com/memorial/47074796/gerry-wayne-lee
National Library of Medicine- https://pubmed.ncbi.nlm.nih.gov/22442828/#:~:text=Overall%2C%20neck%20structures%20fractures%20were,the%20cricoid%20cartilage%20of%2020.6%25.

The Island:
It is not a desert island. It's a moderately sized, lush island. There are no large predators or dangerous wildlife (like boars or moose). There are bugs but they are only a nuisance deep in the forest. The weather is similar to Pacific islands like Hawaii. The weather can get bad but there will never be a severe storm as long as you are on the island.
Amenities:
It is also a partially developed island. You awaken in an open air cabana on the beach. There are lights, electricity, an unstocked bar with a mini fridge and a hard-line gas grill. Nearby you see a dock with and a covered cargo area. There is also an ATV and compatible trailer. Leading into the forest is a well maintained trail that leads to a house with a great view. The house is built in an architectural style that you enjoy. It has 2 bedrooms, 1 bathroom, 1 kitchen, 1 living room and a covered porch/deck. The house doesn't have much beyond the standard furniture and cooking utensils. It does have a living room with a big screen TV, Blu-ray player, and CD playestereo. There is also a top-of-the-line computer without Internet access. It has the full Adobe Creative Suite.
Resources:
You find a note describing the situation. Basically you can stay as long as you want and when you're ready to leave all you have to do is press a button down by the dock and someone will arrive to pick you up within 15 minutes. They will also handle all aspects of your return journey to wherever you were before waking up on the island. During your stay you will receive constant resupply's of essential resources. This means electricity, potable water, fuel etc. will never run out. In terms of food, your diet for the previous week will be evaluated and any ingredients used in the preparation of those meals will be considered "essential foods" that are constantly restocked.
Lastly, it is explained that you can give requests every week for 5 specialty ingredients, 5 Blu-rays/DVDs, 5 CDs, 1 videogame/program, and 1 item of your choosing. Non-networked items only. Nothing you could use to connect or communicate with the world at large. All items are delivered on the same day every week, neatly stacked under the cargo area. They are only delivered when you aren't around or observing (recording or viewing through a camera). The videogame/program will mysteriously be installed on the computer at the same time the other items are delivered. If it requires an Internet connection beyond installation, it will not work. Requests are inputted through a custom program preinstalled on the computer.
Hypothetical Questions:

1. After learning all of this, how long do you choose to stay on the island?
2. What special requests do you prioritize?
3. How do you spend your time?

Residential Contracting 101
With over 20 years of building experience, I would like to share with you my insights in navigating becoming a successful contractor. With many different avenues of the building world its key to understand what problems will arise on any given day. A man once told a saying that stuck-the 6 p’s in life- Piss Poor Preparation leads to Piss Poor Performance. Preparation builds everything in construction, without preparation the jobsite will not run correctly. The best advice I was ever given was to learn a little about every trade giving you the ability to understand trade lingo and secrets. An example would be painters use the terminology flash; this means when the sub structure bleads through the paint. Subcontractors will give the best pricing if they respect your knowledge of the industry. If the subcontractor feels they will have to hold your hand through the job they will charge an extra fee…i.e. I call it the aggravation fee. In this blog I will explain the key elements in finding success in all aspects of the industry. Contracting is a physically and emotionally demanding job which requires planning and foresight to complete projects on time within budget. Picking your customer is just as important as picking your employees or subcontractors. I have worked for some of the most demanding customers leading me to question at the end if the job was even worth it. Sleepless nights, constant changes, lack of payment, lawsuit threats, adding work that was in the contract are just a few things you could face with a tough customer. With so many moving parts at all times it is critical to be able to adapt to changes within a short time frame. Materials will come in damaged, subcontractors will be late, employees will get sick, but the deadline you set does not change. The stress can be overwhelming at times keeping your mind in a good place is key to navigating all that is thrown at you. Choosing your client picking the right jobs-Keep these questions in mind The first question to be asked is what the time frame is to start the job to see if it fits within the timeframe for your business. If the time frame doesn’t work then move on from the project or let them know when you would be available to start. If the client really wants to use, they will wait until you are available. Taking on too much work will only lead to problems. Construction is a serviced based business, staying on top of the project and client will eliminate an unhappy customer and construction issues that will be over seen. With online presence if details are missed and customer service lacks it will only be a matter of time the phone will not ring. The second question to be asked to the client is do they have a budget in mind for the project. If they answer yes this is good, follow through with what the budget is. If the budget seems low let them know, this will eliminate a tire kicker, educate them on what the price range could be. If the budget seems reasonable then continue the discussion to the next question. If they answer no let them know that you can give them an estimate to see if the project is feasible with their finical capabilities. Taking on a job that is not correctly budgeted will lead to an unsatisfied customer due to non-transparency of the construction cost. The third question to be asked is anyone else bidding on the job, if the answer is yes, understand you might just be number check for the contractor doing the job. Dig a little deeper and find out how many numbers they are getting and why. If your business model is to be competitive be completely transparent with customer, this will gain trust with them. Let them know you get what you pay for and if you they choose the lowest bid it could lead into lack of quality of work.
The fourth question I will ask is there any specific subcontractors they wanted to use. If the answer is yes then I would explain to them you only use the subcontractors you have a working relationship with. Otherwise, this could backfire as the subcontractor might not show, do subpar work, talk behind your back to the homeowner. In my experience I would stay away from using any homeowner to alleviate problems down the road. A quick conversation now can save headaches down the road. The fifth question I will ask are planning on getting the job permitted, this needs to be known it takes more time for the permitting process. Plans will have to drawn submitted and approved to the city before work can commence. The sixth question I will ask if a residential remodel is are you going to be living through the remodel if yes understand this will take more time to navigate the project due to answering questions and cleaning the house on a daily occurrence. I would recommend seeing if the customer would be willing to move into an Airbnb or friends for at least the demo portion of the project. If they do plan on living through the remodel add a couple hours a day to accommodate the extra time that will be required. The seventh question I would ask in a residential remodel is how old the house is to see if there is asbestos that would need to removed by a proper company. A home built before 1979 will most likely have some asbestos in the house, use a licensed company with proper insurance to dispose of the materials. If everything looks good to this point find out a little more about the client personality. If the client seems reasonable, I would bid the job. Unreasonable people can cause you more stress than its worth. These are some red flags I would look out for. Some jobs are not worth the money. Very demanding in the way you are going to perform your job- I.e., tell you how you are going to do your job- You’re the professional not them! Give you a hard time about your price- haggle with price you estimated- The price is the price! If they are a family with little money and you want to help them out is one thing, if they are trying to beat you down is another. Mention they have a lawyer-there is no need for them to bring up that they have a lawyer - Run for the hills as if the job goes south, you will be the one losing out! Tell you what the payment terms are. It’s your business you get paid how it works for your company. If you want to get paid every Friday, put it into your contract-If the clients do not agree move on it will save you frustrations If they talk bad about the last contractor, chances are they will talk bad about you. There is a reason why the contractor does not work for them anymore, unless he did subpar work this a red flag Clients are using an interior decorator that will purchasing all of the materials- The materials could be ordered incorrectly by the interior designer your company will not make the mark-up it deserves. Interior decorators usually add time to the job as well as act like your boss. Charging a little extra for the time and stress that it will entail is only fair. Clients want to purchase the materials- You are using your knowledge to buy the correct materials-The mark up on the materials keeps the doors open working for wages only pays the bills The husband and wife do not get along-You will become the mediator between the couple it will lead to taking sides a losing proposition- A drama free work place is always best! Dangling carrot-if you do this job the next one will be better-Only look at what there offering at the present moment, if its not a good fit do not take the job for a job down the road…Its not worth chasing a job that might not happen! The Art of the Sale First things first selling your company is all about presentation. In meeting your clients for the first time show up with a collared golf shirt tucked in, belt, nice jeans, and newer shoes. Have a truck that a clean, no dents scratches, preferably washed the day you are going into your meeting. Have a leather note pad that is clean no dirt or paint visible. Show up 5 minutes early, if you’re running a little late shoot them a text to let them know. Treat the situation as if were going on a first date, best foot forward. As you introduce yourself give them a warm greeting, letting them know you are very interested in the work. Find out a little about them, hobbies, where they lived, etc etc. You are going to be working with them on a daily basis its nice to know what makes them tick. Having a good working relationship from the start is key forming a solid relationship. As the conversation progresses find out who wears the pants in the family…ie who’s the final decision maker. If its fits the wife, chances it is…..then kindly let the husband know happy wife happy life when their in a stall mate on an issue. As your looking at the project throw in some suggestions of what you think would look good from past experiences, this will get their attention that you have knowledge and want what’s best for them. If you see ways to save them money in their project let them know, money is a large point of the sale keep that in mind. Mention that you’re not the least expensive contractor but you’re not the most expensive either. Your customer satisfaction is your number one goal which leads to more time spent on keeping them happy. One happy customer will lead to another, one unsatisfied customer leads to work in the future. Bring up the fact the finishing the job on time is key goal to your business, many contractors run several jobs at once causing the jobs to be finished way behind schedule. You must stand out as having integrity, good morals, and the ability to problem solve to get the job. The clients will be testing you to see if you’re a good fit as well. Keep in mind as you take your notes that you must not forget anything they mention as it will come back before the job is completed…i.e. we mentioned that to you before we started the job! Take pictures of the proposed area for work, that way you can use it to better right your estimate. Let them know you will give them a detailed outline of when the job will be completed letting them see how long each phase will take and correlate it with your payment schedule. Before you leave their house let them know when the estimate will be sent to them. MAKE SURE YOU HIT THAT DEADLINE! Once you sent the email over with estimate make sure you get confirmation that they received it. Wait at least 2 days before checking with them, hopefully they contact you first! If they want negotiate the price, let them know that it is the best price that you can manage, its not worth losing money before you start. I closed 80% of the work I estimated by being very transparent and friendly. If you come off with an attitude charge double what the going rates are you might only land 1 out of 10 jobs as well as getting the reputation of being expensive. Bidding the job Looking up industry standards on pricing is what I would go buy for pricing. If you google the coat of any installation there will be a cost range for everything. Looking at the cost ranging from high to low I would tend to be in the middle. Some items might be low on the internet if this is the case use your best judgment not to lose money. Closing sales is key to success and keep the doors open for business. Being in the middle on pricing is key as most customers shy away from contractors that are extremely low or high on the price range. I tend not bid out hourly as wages do not pay for retirement. Bidding is better as customers no the exact price of the cost of construction. It also keeps the job moving quicker as time and material contractors take longer to complete projects…Thus costing the client more money and valuable time they could spend in their house. Using a Contract Using a detailed estimate tied to a contract covers your butt in 99% of the time. Having a piece of mind that every aspect of the job is covered in the estimate and contract protects both your company and the client. Key terms to include in your estimate/contract are. Have a schedule on excel showing the start dates and dates of each trade this will show the customer you are organized with time lines. If not written in the detailed in the estimate the item is excluded- This ensures if its not written down its not included. TBD- To be Determined- A phrase on a line item that has yet to had final decision of products or service needed. -The pricing will follow the decisions to be finalized Give out what your written warranty will be for parts and labor this changes state to state. If the homeowner provides the product than no warranty will be given on that particular item. In the contract have a start date and end date with the verbiage subject to change due to weather, product delivery, change orders Have a progress payment schedule to ensure the client understands when funding will be expected-Including if not payment is rendered service to the project will stop. Have written terms of how change orders will be charged-cost plus 20% or a set fee Make sure in your contract that arbitration is required versus going to court- This will save lawyer fees and going to court Many contracts can be found online and each state requires different contracts
Finding leads Finding leads is easy with the right network of people. I personally do not find working for friends or family members a good fit. Relationships get strained when money is involved, causing undue stress for both parties. I have listed a couple of ways to build a network or find work using the internet. Get in contact with realtor’s- Realtors have a big client base of homeowners who need work done Contact local Architects to see if they are working with any general contractors Leave some business cards at your local materials suppliers-Doowindow/lumber-many times clients will ask salesman for a referral. Join a business networking group- BNI is one of many Join a internet website lead generation company- Houzz, Angie’s List, Home Advisor, thumbtack, Yelp run an ad on craigslist Use a marketing company to market your website-This could become costly with little results Create a Facebook business page Create a Yelp business page
Building your subcontractor base Having 2 subcontractors for every trade, gives you the flexibility of completing jobs on time if the one the subcontractors is too busy at the time you need their service. Your subcontractors are the face of your business, choose owner run companies that are professional. Check to make sure there license are up to date..ie workman’s comp, liability insurance, state license. Choosing subcontractors with lettered vans, logoed t-shirts is s key to looking professional in the clients’ eyes. In the past I have gotten a lot of subcontractors for material supply shops, stopping by jobsites, researching the internet using Yelp, Home Advisor, etc etc. Once you get one good subcontractor ask them if they know any other trades they would recommend. One good subcontractor leads to another in most cases. The key to having a good group of subcontractors is to let them know that you are there to get help them get the job done. They do work for you but without them you are nothing…keep that in mind! Make them aware a clean jobsite is required at the end of everyday to ensure the proper safety for all parties including theirs! Over the years I have referred a lot of companies work when there is only 1 trade needed. Referring work to subcontractors is a good way to get top priority when you have work that needs to be completed ASAP. Timing is everything in times of emergency having a good group of subcontractors will make your business run smoothly. Pay your subcontractors immediately after performing work, this will make them feel appreciated! A happy subcontractor is one that will gladly go the extra mile for you knowing that there not just a number to your business! Buying lunch once a week for the jobsite is always a good token of appreciation!
Supervising In supervising any jobsite its key to monitor everything from materials on hand, weather, vehicle parking (if applicable), jobsite safety, and subcontractors’ workmanship. If you hired a professional there should be little supervision in the work being performed, on rare occasions a new hire might need some mentoring to get the results completed correctly. If you see a problem with there work address it with the worker directly, no need to call his boss…. building repour with the worker letting him know you got his back goes miles down the road! Checking in on the job first in the morning to answer any questions or changes that need to be conveyed and once in the afternoon to make sure all work be completed is done per construction industry standards. A job that is run blindly will have many more issues than one that is watched over. I have seen many jobs with no site supervision, leading to subpar quality work as well as safety hazards. Its better to be like an eagle than cluck like a turkey!
Working with the City/Inspectors On permitted jobs the city and site inspector will be a large part of how smoothly the job runs. Each phase of construction has an inspection allowing for the project to continue. Make sure your subcontractors are aware that the project is inspected before starting the job. The best way to stay on his good side is to provide a clean jobsite and having the job built to the highest standards possible. When having the site inspected be courteous to the inspector asking any questions or concerns you have with the work during the job. Being completely transparent will save you aggravation of problems down the road. The more he trust you the better if you seem sneaky or rude he will make your life a living nightmare! Many inspectors will have an attitude towards you….I suggest keeping quiet and doing what ever he wants….he’s the boss no need to get in a pissing match you will not win at. How to deal with irate customer Stay calm during any argument with an irate customer. Never raise your voice or show that you are bothered by their disgruntled behavior. If the customer is trying to get more from you than agreed upon stand your ground. Worst case scenario is you walk from the job, which in the long run be more of a loss for the client. I have only run into a couple of these clients; they are unreasonable and not worth losing sleep over a few dollars. Its best to terminate the relationship as it would be my best guess that a referral from this customer would not be one you wanted anyway. If you feel it was just a miscommunication on your end, take reasonability and remedy the problem. Taking accountability for your mistake will go a far way in their eyes and on future issues that arise. Prepping the homeowner pre-construction Before starting the job, it very important to give the homeowners a warning of what will happen during the construction process.

1. All furniture in the proposed working area must be moved- I would recommend having the clients take care of this to limit the risk of damage to their belongings.
2. There will be dust that will be in the house up to 3 months after construction-I would recommend hiring a construction cleaning company at the end of the job even so after it is cleaned dust will be present months after words.
3. There will be conflicts between you in the homeowner at some course of the job. - You will do your best to eliminate them as quickly as they arise-i.e. material damages, miscommunication, job delays
4. All decisions on materials must be made before the start of the job- this will eliminate job stoppage due to materials not being on site.
5. All materials will be on site before commencement of job-
6. Payment structures must be made per contract otherwise job will stop until payment rendered
7. Cars are to be moved out of the driveway- Ensures ease of loading and unloading of materials/tools
8. Give the specific hours that workers will be present- i.e. 7-3:30
9. Determine what areas are allowed to be used as staging for tools/materials
10. If animals are present in the home that they put outside or in a room during the day
11. All valuables in the house are locked in safe
12. Ask if using client’s household bathroom is okay or to bring in Porter Potty
13. Being transparent as possible is key to keeping a great relationship with your client!

During Construction During construction it is key to take detailed photos to eliminate any damages that were not caused by the construction process. I would also make a video to ensure all areas are included. All subcontractors should also take progress pictures to ensure if problems arise in the future, they will not be responsible for any work that they did not perform. Keep an on-going log of progress to the homeowners and share the pictures for there records. This will keep homeowners excited of the progress being made. When the house is gutted to the studs it is important to have construction photos showing where all utilities are run in the walls or sub floor. If there is a problem in the future there will photos showing all utility locations. Protect all flooring with plywood or floor protective. I also like to protect front door and tarp all areas where subcontractors are to be working. Make sure to cover any chandeliers/furniture/doorways with plastic to eliminate dust. Ask the homeowners if they have any concerns that they could think of. We’re all human and possibly a detail was missed! Post Construction Phase If the project went smoothly appreciation should be shown to the customer. Find out if the husband likes a particular type of liquor. Bring the wife a bouquet of flowers. Send a Christmas card to the family letting how much you appreciated the work. You know you have done a good job if they tell you they will refer you to their friends. The best compliment you could receive is a good referral. In Summary Try to find a knitch in the market, I found kitchens to be a great remodel projects. Bathrooms are tough as they are small, expensive with little profit margin with every trade involved. Windows/doors are also another great knitch as they can be installed quickly. There are so many different remodeling items that can be stream lined to make the selling installing process flawless. Once the core group subcontractors are in place the job almost runs itself. Every day is a learning experience with new materials or methods in construction. Keeping up with codes, materials, fluctuating labor and material cost is a job within itself. Anyone can be a contractor with the right mindset.

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Intro

To preface this review, I just need to say that this is going to be a very, very long read. Going through it myself just for the fun of it takes around 30 minutes — it's almost 7k words of text, including lyric references. So for the best experience, listen to the album beforehand to understand what the hell I was thinking when I wrote this review, play the album while reading, and set a good amount of time aside.
Another thing to get out of the way: yes, this is 9 months late 😭 I'm not sorry — when I find an album review online it's always around a paragraph per song or even shorter. It makes sense from a journalistic perspective, but I want to do this album justice, hence taking 7 months to write out all my thoughts.
This shit is comprehensive, and possibly a bit too overanalyzed and wordy, especially in Talk that Talk and Trouble. Each song review will compose of my commentary going over the song, writing the details I noticed through months of listening, followed by a conclusion. Also, mild swearing warning, I like implementing a touch of "French" when I'm very emotional about something. Anyway, onto the review!
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Between 1&2 💞

Album Review
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TELL ME WHAT YOU WANT
TELL ME WHAT YOU NEED
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Talk that Talk 🎙

Lead producer: collapsedone
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One of the most perfect TWICE songs.
I think this is one of TWICE’s best-sounding title tracks. Warm modulated synths, a thrumming bass line, distant bells, shimmering synths — the purpose of this song is to be fun and my god is it excellent at it, like… Sana and Chaeyoung are saying knock-knock-knock and beep-beep-beep as if they’re some kind of car. So much fun.
Further along in the verse, Dahyun’s voice sounds so full and smooth with that harmony layered on top. Tzuyu coming in with the Yes or Yes, Push & Pull, and 1 to 10 references — these are 5 years of song references in one line. And Jeongyeon closes the pre-chorus accompanied by a rising synth to drop into chorus one. Jeongyeon slays pre-choruses.
The drums accelerate, the synths start blasting, and Jihyo opens to that party of a chorus with her godly vocals,
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Tell me what you want
Tell me what you need
A to Z da malhaebwa
But shijageun ireoke have
Talk that talk ttak han madi
Talk that talk L-O-V-E
deullyeojweo ooh
Now now now now now yeah~

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During Sana's Talk that Talk~ lines there’s this ascending synth bell that gently rings with the descending melody and it sounds absolutely gorgeous. And the choreography during that part of the chorus is so so so so fun: the talking hands bit, spelling L-O-V-E, concluding with the deullyeojweo ooh! Oh my god Jihyo the deullyeojweo ooh…
Have I mentioned this song is fun?
Speeding through verse 2; Chaeyoung’s little part with the cat ears popping in the music video is adorable; Momo’s part with her stretching her arms out looks so damn cool; and Dahyun with her replay part sounds so lovely — although I think it sonically sounds a touch random, it makes sense thematically.
And now for this pre-chorus. Mina and Jihyo leading into it sound great BUT JEONGYEON… Now, she is my ult bias, and this pre-chorus sounds almost identical to the first one, but the way she holds that final note, enunciating and holding that now~ for one more beat before the chorus drops sounds so goddamn perfect — the song teeters on a cliff edge. Jeongyeon slays pre-choruses.
Dropping into the second chorus and man, Jihyo powered through that first chorus, but the way Nayeon delivers it just hits different. She has this indescribable “pop” voice (I promise this wasn't on purpose) that stands out and shouts this is THE chorus. I think this is especially apparent in how both lead into their choruses where Jihyo starts the chorus at 120% power while Nayeon waits until [Tell me] WHAT YOU WANT to full-send it. Later in the chorus, she also highlights “malhaebwa” in a similar way.
Another deullyeojweo ooh! Nayeon travels to Narnia, and Mina the engineer strikes again in this heavenly, underwater-esque bridge,
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The simple words “I love you”
That’s all I wanna hear
Without hesitation, I’ll go up to you
I’ll make it simple
And just tell you I love you

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The word “love” is said for the first time in the song. There’s a funky keyboard-like instrument behind Chaeyoung’s part. Jihyo, Chaeyoung, and Nayeon take the initiative in their lyrics, professing their love before closing the bridge.
And now for the pièce-de-résistance: this final double chorus is exceptional — 40 seconds of crack-laced euphoria; Jihyo switches up the chorus and the choreo, Dahyun comes in with her airy and fluttery “Talk that Talk”, Momo comes out of nowhere with “oh yeah it sounds so good!” — you’re damn right it does, and this is where the song SOARS.
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han beon deo~ haejweo
geurae banggeum geu mal~

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Nayeon outright shouts “Tell me what you need” and then Jeongyeon sings the above lines in such an ethereal, warm way that the first line ascends while the second line descends, causing a lull in the song before the finale with Nayeon finishing off the song with the final deullyeojweo ooh! What a party. What a song.
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THE GOOD

• The synths of all time
• The chimes during Talk-that-talk~
• Jeongyeon’s pre-chorus going into Nayeon’s chorus
• The entirety of that magical, double-shot, final chorus and outro
• Solid line distribution

Needs Work

• The opening hook (Tell me what you want) and accompanying choreography could be “catchier”

Core Memory

• Singing (and dancing) my heart out when this song played at a K-pop club

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Lyrics and theme-wise, if this were to have been TWICE’s last comeback, they’ve once again built upon the theme they've been doing since debut: a Bildungsroman, a coming-of-age story.
This song’s chorus is so honest yet so simple; it asks the listener, in this case, the other half of the relationship, to be more upfront and open with their love (never be scared of love) that before the relationship can continue and flourish there has to be a foundation and commitment of love between each other.
TWICE debuted with a song about making your crush go ooh ahh. Years later, they started maturing after asking “What is love?” by imagining their crush responding with “yes” when asking them out — and now concluding with the phrase “Talk that talk, [talk that] L-O-V-E”, being upfront with the relationship, wishing their partner to also be happy, to commit to them, to feel the love that they want to impart on them. From gawking like ooh-ahh to talking out your shared love like real adults — to having a true relationship between (one and) two.
And can I just say before finishing off Talk that Talk's review that this is such a fun and repeatable song with many little intricacies hidden in the nonet’s vocals and the production. This is the third draft I’m writing about Talk that Talk and its original word count pretty much quadrupled.
Harkening back to TWICE’s roots by combining mature thinking with youthful character, an incredible ending to look forward to, and just simply being a club-banger that’s easy to listen to, TTT is an easy 10/10.
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WATCH ME GO WATCH ME GO
RULE THE WORLD
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Queen of Hearts 👑

Lead producer: LDN Noise of SM
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If there was one B-side to promote in a live clip, this was a solid choice.
Helmed by LDN Noise going headlong into the Western boy-group rock-band aesthetic, Queen of Hearts is a boom-boom-clap song through and through. The drums are very prominent throughout the song, only giving room to riffs of electric guitar in the chorus to drive and continue the momentum of the music.
And speaking of the chorus, vocal line each got a chorus to flex and they did not fuck around,
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You ain’t ready for it
Watch me go~ watch me go~
Rule the world
Know you never doubted baby
I’mma go run the whole universe~

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Cymbals crashing, drums booming, and 3MIX belting all just so sound so equally good.
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Baby I was born to rule~~
Yeah I’m the queen, I’m the queen
And it’s all because of you~~
That I’m the Queen of Hearts

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These long, held-out notes performed by Jihyo and Nayeon are simply exquisite. Along with the shredding guitar, the drum set coming in full, and the interludes by Dahyun, Momo, and Chaeyoung, this is the part of the song that always, always, gives me goosebumps — it sounds so visceral, so energetic, so fun, so triumphant. Boom-boom-clap songs can be hit or miss with people, but there is no denying that the payoff from the first part of the chorus to this second part is worth the wait.
The theme of the song so far has been kind of spread around the song. The chorus alludes to it with the line "And it’s all because of you." But Mina shows more sides of it in the second verse, especially with the phrase
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And now that I’m surrounded by all my girls
We be shining bright like diamonds and pearls

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It sounds really lovely — in a very cheesy and affectionate kind of way, as it rightfully should — the song is about the girls and their fans. But the bridge is where the song indeed shows its colours
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Screaming out my name
See it in the stage lights
Feel so lucky just to have ya
Cause I know deep down I was meant for something bigger! Greater!
I know you’re seeing what I see
Yeah I’ll be everything you need
I know I’m gonna walk the walk
And talk the talk to be~ [the Queen of Hearts]

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This is a song CONCEIVED TO BE PERFORMED FOR THE FANS. It’s meant to be loud. It’s meant to be unapologetic. It’s meant to be sappy. And it’s all the more wonderful for it.
This is the TWICEiest shit ever.
Like Talk that Talk, Queen of Hearts also has a killer closer. The production already started to grow from the bridge, but now the guitarist finally went Super Saiyan and instead of supporting the drums, they both take the centrepiece in tandem, ending the chorus with a little shred.
Then finally, the closing moments of the song even manage to squeeze in some more sappiness.
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So thank you for the memories
You’re all the ones who made me~
So thank you for the memories
That I’m the Queen of Hearts

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I still can’t believe that this banger is a FAN SONG out of all things. Truly, the TWICEiest shit ever.
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THE GOOD

• Adorable fucking lyrics
• Unrelenting, roaring chorus
• English and vocal flex
• Addicting guitar riffs

Needs Work

• Chaeyoung rapping in English in their Korean songs somehow slaps harder than her English rapping in their English songs, nonetheless, in QoH, it fits with the sound of the song

Life Highlight

• Walking home from a K-pop festival with this song playing, felt like a Queen of Hearts

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I love these types of rock songs with how grunge and head-bang-able they are, there is just a certain nostalgic and cheesy quality to them that feels so appropriate and cozy. I don’t love putting them on repeat, because in this case, I do believe there is such a thing as too much of a good thing. Perhaps more shredding, maybe even a guitar solo to rock out to, or more gusto from the drums, cymbals, bass guitar, or an accompaniment(!) of ad-libs from 3MIX to support Jihyo’s final chorus? A ONCE can dream of a truly bombastic rock song from TWICE. But then again that distracts from the core of what this song is: a fan song undercover as a rock song.
Queen of Hearts has so much sweetness in its lyrics and message that it's overflowing. The drums, guitar, and vocals can be as loud and intricate as they can, but the theme of this song is what makes it special from TWICE’s other rock songs, especially for fans of this type of sound — it’s a 9/10 for me.
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I WANNA WANNA WANNA
TAKE YOU TO THE BASICS
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Basics 🌈

Sole lyricist credit: Chaeyoung
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Quite possibly the jammiest (pun intended) song of the album.
A song written by the Strawberry Princess herself — an event similar in frequency to other artists' releases with her last song being 2020’s silky Handle It — Basics first starts with an understated and dreamy delivery. After the first stanza, however, a bouncy Miami bass line emerges, revealing the true nature of the song: this is a classic summer bop!
This is especially apparent in the first rap.
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dareun aedeulgwaneun dalla
Ain’t beggin’ for love
nappeun geon anijana ige naraseo
eodiro twilji molla
Like rainbow bubble gum
geureoni nal kkwak butjabadweo

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Syllables are pronounced in a relaxed nature, bars often starting with an "ah" sound, flirty lines in English — this rap features a production full of pop with R&B flourishes and, in my opinion, this is Chaeyoung’s bag. Also, the line rainbow bubblegum is so adorable and so Chaeyoung.
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I wanna wanna wanna take it to the basics
da weonhae weonhae weonhae? seodureuji ma Baby
ppeonhae ppeonhae malhae mweohae da al tende
Ah yeah ah yeah ah yeah ah yeah

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That chorus is pure pop with a Miami bass backing; you better be bopping your head to the melody, if not booty poppin' to the bassline. Chaeyoung loves rhyming in the first half of the chorus to enhance its catchiness and it's damn incredible: the “wanna”, “weonhae”, and “ppeonhae” all combine to create these imperfect rhymes that continue momentum without feeling repetitive.
After the very Boy With Luv-sounding “ah yeah ah yeah, ah yeah ah yeah” comes an 8-bar split half and half between Chaeyoung and Momo. Coming from the chorus, the production completely cuts out for the first 2 bars. This adds tension; the song yearns to have that bass beat thumping again and all we have in the audio space in those 2 bars is Chaeyoung spitting and she delivered.
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taneun deut tteugeoun samak wie
yeppeuge pieonan jangmi gata
joshimseure naege dagaol ttae
nado moreuge jjilleobeoril tende

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Translating to:
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Above the hot, burning desert
It’s like a rose that bloomed beautifully
When you come to me slowly
I will prick you unconsciously

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The rap feels slick, effortless, and confident. Her diction remains sharp when enunciating each syllable but she doesn’t let the flow of her rap waver or build as her 4 bars go by, it’s just smooth consistency throughout. Even the lyrics possess an aura of laid-back collectedness that is just so her.
The things Chaeyoung can do when given her pen.
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THE GOOD

• That sweet summer vibe of a chorus
• The “spaceship” post-chorus is killer
• Chaeyoung devoured this song
• Sure-footed, confident lyrics

Needs Work

• Perhaps an alteration of that ah yeah ah yeah line
• The way Jihyo did her pre-chorus line is good, but Mina’s is great

Core Memory

• After donating my hair, walking down the rainbow-coloured areas of downtown Toronto with this song playing was very… fitting

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This song is summer bliss distilled into 2:56 of MP3. It’s dreamy, the raps are satisfying, and the ending is charming. I will say that although the second half of the song adds the stunning “spaceship” post-choruses and a floaty bridge with an incredible drumbeat-drop transition to the final chorus, the raps of the song make it feel a bit front-loaded. And in an album stacked with incredible finishers, it feels more apparent.
With that said, it’s an 8/10 bop for me. This song is so radio-friendly and easy to put on and it feels exactly what Chaeyoung would make if given the reins to produce a pop song all on her own. The lyrics are nonchalant but full of conviction, the wordplay is intricate, the production is playful, and it’s not too bombastic — the song's just a nice vibe. Songs like Basics are the standard for good, simple, repeatable pop music and I’m happy that Chaeyoung got to test her pen in this genre.
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BABY WE’RE IN
TROUBLE TROUBLE
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Trouble 💃

Sole lyricist credit: Jihyo
Background vocals: Jihyo
Lead composer credit: Jihyo
Vocal director credit: Jihyo (an assumption given her contributions in First Time)
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One of the most enjoyable songs I’ve heard in a while.
There is an underlying tension within the first 4 bars of the song, Jihyo and Nayeon confidently open it to a nondescript array of synths and then the stanza ends, Momo announces “Let’s go”, the beat drops and it hits you:
This is a club song.
Dahyun's relaxed delivery contrasted with Jeongyeon's staccato flow, the wobbly synth beat with the sprinkle of that house piano, Sana dramatically slowing the song down only for Tzuyu to build it back up until the chorus drops,
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• Nayeon opens it using a breathy tone, with vocal chops serving as harmonies
• The blooming of the house piano takes centre stage and the song ascends into euphoria
• A random drum roll capped off by a cymbal crash
• Jeongyeon’s pronunciation of the word “trouble” almost being a growl
• Chaeyoung slyly admitting “I like this trouble”
• The entirety of Tzuyu’s tro~oh~oh~ouble yeah~
• Sana using her deep voice for the na~na~na~na
• Jihyo leading the vocals during the synchronized T W I C E chant

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This chorus is perfect. Toronto’s residential market needs this song injected into its veins because god damn this song has SO much house in it.
And then. AND THEN. ANOTHER KILLING PART. This rap fucking slaps.
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gamchweo bwatja geugeon Fake
ppajin hamjeongeun Sweet cake

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During the first 2 bars, Chaeyoung is keeping it calm because that trip of a chorus just ended and the song needs a breather, but I don't think anyone expected her to SNAP this hard afterwards:
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You cannot resist this
Cannot miss this, such a bliss
Ima put it down down
Oh yeah, better kiss kiss

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Below is the structure of her this portion of the rap, I’m not that well versed in this technical aspect of music theory but I digress, this is all in the span of around 5 seconds where it’s:
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Triplet-triplet
Quadruplet-triplet
Quadruplet-doublet
Doublet-quadruplet

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Now, 25/5 = 5 syllables per second isn’t groundbreaking, but goddamn it these 2 bars sound so nice — if there is one part in this album that I always repeat, it’s these bars. The addition of that first quadruplet for “cannot miss this” in the midst of all the triplets sticks out and accelerates the flow of the rap while the following doublets and quadruplets help to destabilize and slow the rap down as the verse closes. And can I just point out:
THE MAIN VOCALIST WROTE, DIRECTED, AND COMPOSED THIS SONG ‼
Chaeyoung of course delivered the fuck out of her verse but THIS is what you get when you have a member not only write the words they’re saying but also the melody and flow with which they sing it. This is what you get when one member knows the others so well that when they write a song, they know how to make the group as a whole exceed. This is what you get when the artists you stan love doing artist shit.
And. AND. That's not all — with how much I mentioned I love a damn good outro to close a song, this outro slaps as well:
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Woo wee woo wee woo
I like this trouble be-be [Momo]
Woo wee woo wee woo
I like this trouble bay-be [Sana]
Woo wee woo wee woo
I like this trouble bay-beh [Chaeyoung]
Woo wee woo wee woo
I like this trou-ble [Jihyo]

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What an outro.
Like, come on, Nayeon’s imitating a police siren for crying out loud. And this is all after her ad-libs in the final post-chorus; after the pianist going full tilt and playing that piano as if it was their last chance to ever play; after that final T W I C E chant by all the members come these blissful 20 seconds at the very end.
What a song.
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THE GOOD

• The theme of relishing in an uncontrolled love
• Sana and Mina’s melody in the pre-chorus
• Chorus
• Post-chorus
• Rap
• Outro
• Wees and woos

Needs Work

• Mina’s line of “falling down, falling down, falling down low” in verse 2 feels a bit too abrupt of a change

Core Memory

• While writing Trouble's review I had this song on repeat for my whole subway commute and I must've been so distracting, just head-bopping and being so invested in enjoying a song

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Need I say more, easy 9/10. The only reason I place Talk that Talk above Trouble is because of what that song represents but besides that, this song is one of the best “international” sounds they’ve put out. Actually, I haven’t listened to Eyes wide open in a while but this song is up there with one of the most sonically pleasing pieces of work they’ve done.
Clubbing TWICE music has always been a thing since TT was birthed in 2016, and has been a staple of their discography since 2019’s Fancy You and Feel Special mini albums, but Trouble unapologetically dives into and fits the house genre so well you’d think that this is TWICE’s bread and butter sound.
Trouble is Jihyo’s magnum opus. What a song.
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BRAVE BRAVE BRAVE
FOR YOU
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Brave 💖

Main producer: Slow Rabbit of HYBE
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I first thought this was just a good song, then I read the lyrics.
Gentle guitar plucks, shimmering synths, a distant keyboard in the right ear, in the left an occasional glockenspiel, the melodic oohs from the members — this song is PRETTY.
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The night that was unusually dark
Above this terrifying world, felt so lonely
The world has grown in the time of wandering
So hard to breathe

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Mina and Chaeyoung open the song with how they feel lonely and that it's hard to breathe and now suddenly the song sounds bittersweet — I was not expecting the song to be more emotional. Brave describes a situation where the singer is in a darker place in life and it isn't until another person gives them hope by calling them 'brave' that they find the drive to keep on going.
Once the chorus hits, the melodies pick up, more guitars get added, and there’s even an electric guitar hidden in the mix somewhere, and the song drops the emotional front to reveal a mid-tempo pop song to dance to while crying in the club. The song as a whole still carries this melancholy feeling, but now with the added support of this chorus acting as a light amongst the gloom.
Continuing on in the second verse there's this gorgeous, well-placed break in the song that just lets it settle back into the gentle back and forth after that chorus. Only a seasoned producer would risk this much empty space in a song and Slow Rabbit went to fill those shoes.
Back onto the chorus, I'll take this moment to once again commend Slow Rabbit with the mixing of the song, because 4MIX will undoubtedly sound good in the chorus, and the interludes from Dahyun, Chaeyoung, and Mina also sound really good, but undoubtedly the highlight of the choruses are these lines:
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Oh na na na neon nal naige hae [Momo, then Tzuyu, then Momo]
On and on and on
Brave brave brave for ya [Dahyun, then Chaeyoung, then Mina]
Oh na na na neon nal sum shwige hae [Sana, then Momo, then Sana]
On and on and on oh trust me babe

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Momo, Sana, and Tzuyu form this beautiful, surprisingly catchy, second half of the chorus accompanied by a guitar drop. It should not turn out this well with how conflicting the "na"s are with the guitar melody but it creates this gentle bopping ebb and flow that just feels so lush and mellow.
Diving into the bridge reveals that the listener of the song is revealed to not only be capable of supporting the singer through direct words but also through their thoughts and dreams; no matter how they convey their wishes to this person, they will always try to push themselves to be their truer, better selves for it. And, as can be discerned, this can be a song interpreted to be about ONCEs. About how they push TWICE to be their best selves despite the breathless hardships they face.
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THE GOOD

• Special lyrics
• Pleasant sound to vibe out to
• That gentle break after the first chorus
• Jihyo’s high note at the end
• A Nayeon Jeongyeon joint high note ⁉️
• Just pretty vocals throughout

Needs Work

• Potentially hard to comprehend without translating the Korean lyrics

Core Memory

• Form of Therapy’s life motto revolves around the word “brave”. I don’t know where I got that from, but I remembered it right before watching his album reaction

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I’m actually spoiled with the TWICE members’ easy-to-understand songwriting when a song like this pops up where it isn’t written by a member and the thematic bits are mostly in Korean I just tend to put it aside in favour of the other songs on the album. And, especially for a song focusing on a theme like this where the English phrases don’t do the Korean lyrics enough justice, it does place a barrier on the listening experience a bit, dropping it down to a 7/10 from an 8/10.
With that anecdote out of the way, this song is just such a vibe, man. I know that sounds super hippy to say but Brave is so mellow and smooth that I can’t help but sway a little when that chorus hits. And then I remember what the lyrics say and I stop and cry a bit on the inside. This song is so pure, raw, and full of heart — we need more songs like these where they just reminisce about life while putting up an upbeat front. Don't mind me just crying while dancing the night away.
This isn't the first time this theme has been sung by TWICE either, they've long trodden this path of supportive, confiding, up-lifting songs with Young & Wild, Rainbow, Queen, Go Hard, Depend on You, even this album's Queen of Hearts, and, of course, Feel Special. Brave just adds another on top of an already stacked lineup, unique with its mellow somberness.
Also now feels like a good time to get into my rating system:

• 7/10s are songs are ones that are simply good throughout or great songs with apparent flaws
• 8/10s are great songs with standout characteristics
• 9/10s are borderline perfect songs where I sometimes can't comprehend how great they are
• And 10/10s are the best of an artist's discography, songs that encapsulate their ethos perfectly or expand upon them in a meaningful way

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I SEE THE LIES
ON THE TIP OF YOUR TONGUE
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Gone 💨

Sole lyricist credit: Dahyun
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Who the fuck pissed off Dubu this time??
It’s getting quite rare to see TWICE pull off brand new sounds because, with now 190 original songs under their belt, they’ve done so many genres and sub-genres varying from hyper pop, to bossa nova, to whatever 2020’s Go Hard is. So it’s surprising to know they’ve still got tricks up their sleeves and Gone is one of them.
The song starts with strings swinging back and forth and vocal chops dancing from ear to ear, teasing what’s yet to come. Jihyo enters the song with a whisper and the song sets its pace. A stagnant drum pad moves the song along and typical song progression would have Mina continuing the build but — it doesn’t. The song continues to simmer, adding a hint of high hat to the pot. And then, Sana and Tzuyu come on and surely the buildup must boil over right?
Silence, until…
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I see the LIES on the top of your tongue

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The strings emerge again on full blast, the simmer turns into a rolling boil, and the anger of the song is revealed.
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All the fate I had towards you
Fades like a fog, gone, gone
Your flipping mind of doing this and that
I’m tired of it, it’s meaningless
In the beginning, it was hard to believe
With that, hatred increases

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The singer is so scorned and burned from this relationship that they reminisce about all the effort they’ve put in since the beginning, but their “partner” is so unconcerned and unfaithful that they’ve just about had enough of the relationship altogether.
This has been Dahyun’s thing coming from 2020’s Bring It Back, 2021’s Cruel, 2022’s That’s all I’m saying, and even 2023's Don't Blame It On Me — emotionally charged breakup songs that make you feel as if she’s gone through a dozen bad relationships. Dispatch, do your job better, or don’t, I don’t really know.
Another highlight of the song is the post-chorus going into the bridge. This segment reiterates the structure from the first post-chorus — a barrage of drums supported by the rhythmic strumming of a bass guitar in the back along with a consistent synth filling out the soundscape. But this time, it’s Dahyun and Chaeyoung on the rap:
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I can’t stand it anymore [Dahyun]
My patience, invisible
I can’t find it, it’s all gone
Even if I try to turn back, it’s too late [Chaeyoung]
There’s no use anymore
It has left, it’s long gone
You, with flipping mind, you are out [Momo]
I know that you know what I’m talking about [Dahyun]
Nothing you could say that could turn this around
I’m gone

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Continuing the disrespected theme of the song, Dahyun notes that she’s finally had enough and Chaeyoung adding on that there’s no point salvaging what was once there for all of it is long gone. Momo and Dahyun round it off by telling the listener that there’s no point trying to reason with them or playing naive, they fucked up and there’s no coming back.
Can I just say, it is a bit of a shame that Chaeyoung’s rapping popped off in this album whilst Dahyun only has this one verse that she shares with Chaeyoung, but it just sounds so good how Dahyun eases in after the chorus with her light rapping tone and transitioning into her singing. She even holds the “gone” in a little crescendo for some added pizzazz.
And, there’s no way I’m not going to talk about Momo’s vocals in this bridge. Damned if she only got 1 line to use it in, her lower register is incredible. She sounds so smooth singing in this tone. All of TWICE do in particular and there is nary a weak vocal performance in this album.
To close the song off, a wash of synths gets to have their shine in the spotlight, showered with Nayeon’s belting, signifying the dramatic and drawn-out conclusion of this partnership.
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THE GOOD

• They’ve still got a few surprises left
• Thundering chorus
• 2nd rap and bridge combo
• A bitter, crumbling relationship theme

Needs Work

• I’m not a huge fan of the mixing during the first post-chorus, where Momo's vocals were fighting with the production, which is disappointing because Momo is capable of an insane flow
• The post-chorus in general, specifically the first one, can be a bit tiring on repeat listens

Core Memory

• Actually, I think this song sounds like a mix between GOT7's Not By The Moon, BLACKPINK’s Love To Hate Me, and Dahyun’s Bring It Back. I don’t know where I got this thought came from, but it stuck

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Going back to that point about the first post-chorus as a whole; songs that have the production continue unchanged into the post-chorus/2nd verse are very hit or miss for me — see TWICE's Don't Call Me Again for an overbearing example. The first post-chorus could use some work because the post-chorus going into the bridge contrasts Dahyun’s light tone nicely with the hard-hitting production, continuing the energy until it slowly fades into silence at the end of the bridge.
Back to the song as a whole, as much as TWICE has been experimenting with their sound for the past 4 years now, I’m happy they’re still finding new ways to explore what they’re capable of. And for that alone, even though I’m not a big fan of songs like these where they rely on sounding “big”, Dahyun’s lyricism and the thrill I receive every time I indulge myself in this song when I listen to it for the first time in a while elevates it to an 8/10. Keep on breaking hearts, Dubu.
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INVINCIBLE
SUPERHEROES
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When We Were Kids 🧸

Sole lyricist credit: Dahyun
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Press play to reminisce, pull up lyrics to cry.
This song is so beautiful. I’m totally not writing this song review, crying on the bus, reminiscing about my childhood, while just having turned 21. I don’t know if these are happy or sad tears but this song is so beautiful either way.
Warm synths, muted piano, a gentle high hat, the younger members starting off the song — this has to be up there for one of the softest TWICE songs ever. And as it should, it’s one of the TWICEiest songs ever. And then Nayeon comes in,
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Invincible superheroes, we wanted to be adults
To the higher, clearer world

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The chords start swelling, the high hat keeps pace, and then the harmonies come in,
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Remember when we were kids
When we were kids, we didn’t know
If we could go back
I will love it even more
Remember when we were kids

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Jihyo takes up the second half of the chorus as it drops, trading the strings for an almost R&B synth production — if choir R&B takes off, this song started it. The song relishes in this cacophony of warm sounds until going back into its sparse and peaceful verses.
This time, the hints of piano are louder, little twinkling synths begin to shimmer, the drum buildup comes and Jeongyeon drives the song straight into the chorus. No time for the strings to build like in Nayeon’s — this song loves its chorus so much.
And can I just take this time to appreciate the amount of Jeongyeon vocals in this album. Her voice is so clean, stable, and projected — but also more tender and soft compared to the more pronounced tones of Nayeon and Jihyo.
The bridge comes in, repeating the phrase
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I wish that I could meet
Could meet the younger me

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Giving the song time to rest, before building back up to the last chorus — this time led by Jihyo, transitioning from the bridge with her own unique lead-in, completing the 3MIX trifecta. And interestingly enough, Chaeyoung follows up in the second half of the chorus, rather than another member of the vocal line. She really did pop off in this album.
As the last chorus begins to close, the percussion at its strongest, the harmonies as prolific as ever, the background choir vocals cranked up to their Sunday best, is the song going to end? Of course not! This is an album full of banger endings as if the songs don’t want to actually end, and When We Were Kids being the album closer very much indulges in that feeling.
After a brief refrain, supported by Nayeon’s high note with a touch of vibrato, the song almost dives back into a fourth chorus. Nayeon and Jeongyeon harmonize — an especially rare and heavenly moment. And the song repeats the bridge, reiterating that they want to meet their younger selves, this time with the more lush R&B production before closing with silence, a few piano notes, and Tzuyu singing the last line of the song
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Oh, we were kids

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Reflection, acceptance, hope. What a song.
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THE GOOD

• Heavenly vocals throughout
• Generous harmonies
• Relatable, heartfelt lyrics
• Euphoric chorus
• Great closer to the album

Needs Work

• Refrain after the last chorus, "Back when we were kids," could’ve been executed better

Core Memory

• For an album titled Between 1&2, I don’t think anything hits harder than finishing the song reviews, with this song in particular, during your 21st birthday

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I wrote the first part of this review at the beginning of November 2022. Then university, life, and other things got in the way of my headspace for me to feel confident about wrapping all of this up. In a way, I felt like I just didn’t want this review to end because of the joy that writing gives me. I didn’t want the happiness to end. And then it hit me, after watching a YouTuber rank animated movies and them placing Spirited Away at the top and explaining 'why' reminded me of just how important growing up is, and by extension this song.
This theme is important for both the rookie TWICE members in 2015 and the teenagers who would follow their journey and grow up with them, facing life’s obstacles along the way. Hardships that used to only involve family, crushes, and social media, evolve into working and commitments and all the struggles that adult life brings. Being a kid and enjoying the simple things in life is one of the most sought-after moments we want to relive because we took growing up for granted. The only thing we can do now is look back on ourselves with fondness and rose-tinted lenses.
TWICE’s original marketing was to resonate with people through their senses and their hearts. That was during their debut, and I think it still holds up today. In my opinion, touching people through their emotions is what TWICE does best and makes them one of K-pop’s all-time greats. It was never about having the best numbers — it was always about being the best idols. And to think that this journey of maturation and growth would occur from 2015 all the way to this song, being a fitting nod to TWICE’s 7th anniversary, I don’t think anyone at the company nor the group would ever imagine that they could get this far. It’s these nine women or none — 9/10.
This song honestly deserves a 10/10 with how much I noticed other people reminiscing their childhoods after I heard this song, it is such a widely-relatable message, but I am determined to limit myself to one 10/10 song per album and if I were to decide between TTT and WWWK, I'd give it to the one's that's more repeatable — Talk that Talk just has this electric energy about it.
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Epilogue

And finally here is the end. If you made it this far in one sitting then I commend you, because I could not write this whole word jumble in one sitting. As alluded to, I started writing this album review sometime in October, after a series of edits the first draft was finished in March, and now here's the final draft in June.
I truly love this album. It got me through some important parts of my life, both good and bad, and it is just a pleasant listen throughout. Getting to relive this album again this week before finally completing the review has been an exciting journey. Brave hit me harder this time, after being overshadowed by the other gems of this album, and When We Were Kids finally got me to tear up and not just be emotionally satisfied.
I feel like there's something for everyone on this album. From the exhilarating thrills of TTT to the anthemic euphoria of QoH, the clubbing dichotomy of Trouble and Brave to the blissful glee of Basics, and the sweet reminiscence of WWWK to the thundering anger that is Gone. Like Eyes wide open, I liken Between 1&2 as a pop music taste platter — there's such an eclectic mix of pop, house, and dance in this album that there's bound to be a song that someone will love, like, and dislike.

I'm currently working at an office reseller company. When I applied for this job 7 months ago I was hired as a customer support representative. This would include inbound and outbound emails and phone calls regarding orders and other similar things you'd expect to do in such role. Fast forward now, a coworker had recently quit to move back home. He was mainly a driver for the company, and when he was finished with his route he would help in the print shop that we also have in office. Now that he is gone, my boss has asked me to do many "small" favors for him. He simply uses the excuse that it would be good to know how to do these things. On another note, I am moving at the end of the month, out of state. Currently working on getting a job in said state right now, and my boss has no idea of my intentions yet.
Some of the "small" favors that seem to be daily include:
- Taking the ex-coworkers entire route of deliveries (I have to come in an hour earlier at 7am for this)
- Putting together 30-50 sets of furniture/chairs while the guys hired to do this are helping with deliveries.
- Taking extra garbage to the city dump using a provided box truck.
- Helping in the print shop with orders that are far behind or need to be rushed.
- Picking up/dropping off trucks at needed locations.
I have no interest in doing any of these tasks, and they are mentally draining me. I am the only one that is multitasking like this. I am also expected to do my usual tasks such as being the first to answer incoming calls when I'm in office, and dealing with whatever I can while the other 2 customer support coworkers do whatever it is they do. I've already been confronted for mistakes on orders I cant even remember with everything I have to do. I am on the verge of quitting on the spot next week and letting my boss know I will not return.
Another thing to mention is a month before all of this, I was brought into my boss' office for reviews. I was basically told I wouldn't get a raise as I didn't have enough responsibilities and that what I am being paid was pretty standard for the amount of work I did. Now I am doing more than what most people here do. I have intentions of going to school to finish my CompSci degree to peruse something in the IT field. I do not have a passion for a print shop, or delivering office supplies on top of everything else I applied to do.
My boss is often leaving me with these "small" favors to do before he leaves early in the afternoon to "enjoy the warm weather" and I am so done with this. I really don't have any expenses for another couple months now, and wouldn't even require this job anymore for moving costs. I figured I could doordash or something in my free time while I pack for the move, but I am very close to walking out. Would it be worthwhile to do so?

I'm currently working at an office reseller company. When I applied for this job 7 months ago I was hired as a customer support representative. This would include inbound and outbound emails and phone calls regarding orders and other similar things you'd expect to do in such role. Fast forward now, a coworker had recently quit to move back home. He was mainly a driver for the company, and when he was finished with his route he would help in the print shop that we also have in office. Now that he is gone, my boss has asked me to do many "small" favors for him. He simply uses the excuse that it would be good to know how to do these things. On another note, I am moving at the end of the month, out of state. Currently working on getting a job in said state right now, and my boss has no idea of my intentions yet.
Some of the "small" favors that seem to be daily include:
- Taking the ex-coworkers entire route of deliveries (I have to come in an hour earlier at 7am for this)
- Putting together 30-50 sets of furniture/chairs while the guys hired to do this are helping with deliveries.
- Taking extra garbage to the city dump using a provided box truck.
- Helping in the print shop with orders that are far behind or need to be rushed.
- Picking up/dropping off trucks at needed locations.
I have no interest in doing any of these tasks, and they are mentally draining me. I am the only one that is multitasking like this. I am also expected to do my usual tasks such as being the first to answer incoming calls when I'm in office, and dealing with whatever I can while the other 2 customer support coworkers do whatever it is they do. I've already been confronted for mistakes on orders I cant even remember with everything I have to do. I am on the verge of quitting on the spot next week and letting my boss know I will not return.
Another thing to mention is a month before all of this, I was brought into my boss' office for reviews. I was basically told I wouldn't get a raise as I didn't have enough responsibilities and that what I am being paid was pretty standard for the amount of work I did. Now I am doing more than what most people here do. I have intentions of going to school to finish my CompSci degree to peruse something in the IT field. I do not have a passion for a print shop, or delivering office supplies on top of everything else I applied to do.
My boss is often leaving me with these "small" favors to do before he leaves early in the afternoon to "enjoy the warm weather" and I am so done with this. I really don't have any expenses for another couple months now, and wouldn't even require this job anymore for moving costs. I figured I could doordash or something in my free time while I pack for the move, but I am very close to walking out. Would it be worthwhile to do so?

I'm currently working at an office reseller company. When I applied for this job 7 months ago I was hired as a customer support representative. This would include inbound and outbound emails and phone calls regarding orders and other similar things you'd expect to do in such role. Fast forward now, a coworker had recently quit to move back home. He was mainly a driver for the company, and when he was finished with his route he would help in the print shop that we also have in office. Now that he is gone, my boss has asked me to do many "small" favors for him. He simply uses the excuse that it would be good to know how to do these things. On another note, I am moving at the end of the month, out of state. Currently working on getting a job in said state right now, and my boss has no idea of my intentions yet.
Some of the "small" favors that seem to be daily include:

• Taking the ex-coworkers entire route of deliveries (I have to come in an hour earlier at 7am for this)
• Putting together 30-50 sets of furniture/chairs while the guys hired to do this are helping with deliveries.
• Taking extra garbage to the city dump using a provided box truck.
• Helping in the print shop with orders that are far behind or need to be rushed.
• Picking up/dropping off trucks at needed locations.

I have no interest in doing any of these tasks, and they are mentally draining me. I am the only one that is multitasking like this. I am also expected to do my usual tasks such as being the first to answer incoming calls when I'm in office, and dealing with whatever I can while the other 2 customer support coworkers do whatever it is they do. I've already been confronted for mistakes on orders I cant even remember with everything I have to do. I am on the verge of quitting on the spot next week and letting my boss know I will not return.
Another thing to mention is a month before all of this, I was brought into my boss' office for reviews. I was basically told I wouldn't get a raise as I didn't have enough responsibilities and that what I am being paid was pretty standard for the amount of work I did. Now I am doing more than what most people here do. I have intentions of going to school to finish my CompSci degree to peruse something in the IT field. I do not have a passion for a print shop, or delivering office supplies on top of everything else I applied to do.
My boss is often leaving me with these "small" favors to do before he leaves early in the afternoon to "enjoy the warm weather" and I am so done with this. I really don't have any expenses for another couple months now, and wouldn't even require this job anymore for moving costs. I figured I could doordash or something in my free time while I pack for the move, but I am very close to walking out. Would it be worthwhile to do so?

Hello everyone,
I am a longtime lurker, but posting for the first time and hoping to get some help from this group. Obviously using a throwaway to not be identified by friends or family that follow me here. I apologize for the long post beforehand.
I came to Canada as a graduate student and completed my Ph.D in ON. Met my wife here, got married and moved to lower mainland for work after working as cheap labor in academia on the east coast for a bit (Yes, it is that - cheap labor! no question). Both of us work in the manufacturing industry with limited scope and lower salary range than IT, medical, etc. To be clear, we earn above average, decent salaries by any Canadian standard, just not enough to buy a decent house in GVA or GTA. We probably had enough saved in early 2020 to buy a small, old and crappy condo, but didn't pull trigger to overpay and missed the opportunity due to covid uncertainty. We were just not sure if we wanted to spend 50% - 60% of paycheck every month on mortgage. We decided to increase our salaries and also move to the prairies if we get decent offers for better housing and living.
We changes jobs, changed cities (moved to SK) and started saving money and I feel we are finally in a good place to be able to afford a house without compromising our the long-term savings. Here are my current savings:
Income: 185k combined before tax. I don't anticipate our salaries increasing by much in the next few years. I feel we are at the top 10 percentile in our fields.
RRSPs: $110k, TFSA: $105k - all invested in various ETFs on WS and Questrade except for about 10k inside TFSA invested in high risk individual stocks that are currently 30% down. Not really looking to sell any of these at this point.
Apart from these we have 70k in cash with $50k in HISA to be deployed as down payment, $10k other expenses (moving, furniture, etc) and 10k emergency savings.
Both of us still have $50k room in our RRSPs, $20k room in TFSA and probably FHSA room of $16k.
We are DINK currently, but plan to have kids in the next two years. We might qualify for more but our target is to find a decent townhouse semi-detached or detached for $450k in a good area. Planning to buy in the next 4-6 months. Here are the questions I have:

1. I understand the advantages of paying 20% downpayment, but I really don't know if we should withdraw funds from RRSP. I feel the longer term return on those investments would beat the housing market. Am I missing something here? Please give me some insights in what else I need to consider.
   
2. If we want to move ahead with just 50k downpayment, what is the most efficient way to deploy these funds? Do I just use cash or do I move the funds first into FHSA and RRSP and then withdraw to get some tax benefits. Can I actually do this?
   
3. As a FTHB are there other factors I need to consider before pulling the trigger on a house.
   
4. I might also need some cash with the next 1 year to complete some repairs and additions to my parents house back home (I am an immigrant as I stated above and father doesn't work anymore). Anticipate 30k in expenses (my portion might be 50% of that), but we are still deciding if we need to spend this money. Can I withdraw some cash from RRSP now when I am buying a house?
   

I am hoping the community can help me make the right decision. Thank you in advance :)

Dear Professor Peterson,
I realize that your schedule probably won’t allow you to read this letter, least to reply. I am not expecting either of these and will not be offended. Why do I write it, then? Well, most probably because in the past several years you have been for me the voice of reason from abroad. Too many things are going in a crazy and disastrous direction, and listening to your lectures and videos have been very inspiring. It always amazes me how deeply you investigate the problem and how thoroughly you analyze it. In many cases listening to what you say have been like hearing what I always felt was true, but could not formulate and justify it myself. Thank you for that experience.
During the past year, which not only attracted the whole world’s attention to a conflict in Ukraine (at last, I’d say, war started there in 2014), but also demonstrated the unwillingness of countries and people to hear each other, I felt the growing urge to share Russian understanding of current situation and of the events that lead to it with someone who could probably be able to hear. Your name was the first to come to my mind. I hesitated until some time ago I came across the interview that you have recorded – “Israel, Russia, China, Iran: The World in Conflict” and it actually triggered me into writing. It occurred to me that, objective as you are, you may be unaware of some facts and interpretations, partly because modern media have mastered the art of being silent about some facts while shouting about the others, partly because you were born and raised in Anglo-Saxon civilization, with all embedded ideas and principles.
A bit about my background. Master’s degree in English language and literature, spent one year as a student in Connecticut, worked in American-owned companies for 17 years. That allows me to a certain degree to understand both sets of values.
I wanted to offer for your attention the view from the other side on what’s happening now between Russia and Western European civilization. I don't say that it is correct, I just say how Russians see it.
Very briefly, just point by point:

• Currently many people in the West are speaking about Russia as about a threat. But what makes you think that we see you differently? We see you as a growing threat. We don’t trust you. And we have plenty of reason for feeling this way.
• We see the West is regularly breaking its own rules and demonstrating double standards, so we can’t rely on its words.
• It has been clearly shown to us, that we will never be accepted by the West as an equal partner, so to us the West is neither a friend, nor a partner, but a competitor at best, an enemy at worst.
• We have seen what the West does to regimes that don’t obey and how the West does it, so West is a serious threat. Don’t come any closer.

3 basic principles of western foreign policy
Looking at the international events of past 30-40 years, we may see 3 basic principles of international policy that the West is utilizing.

1. Democracy is the best possible society model.

Hard to argue – there is the strongest correlation between availability of human rights in society and its prosperity. Let’s accept it as it is, although it is much more complicated and there are other factors that should be taken into account, like, for example:

• Pure democracy is limited to small communities, and is impossible in big countries. Once a certain threshold is passed, democracy is either a burden to every decision made, or is executed via representatives. And representatives, being people with all their imperfections, gradually start spoiling and corrupting the idea.
• Democracy tends to evolve, or, I’d rather say, degrade into oligarchy. Examples are numerous. Ancient Greece and Rome, Novgorod Republic (XII-XV cc), medieval Poland, etc. Even now – with all our experience, we keep hitting the same wall. Legal practice of lobbying in USA is the desire of big money (oligarchs) to have more influence on country policy. In Russia lobbying is illegal, so the same goal is achieved by other means, but without digging deep into details, it is the same – democratic form of power, spoiled by natural human desire to grab more for oneself on the expense of others.
• The most prosperous regions now (North America, Western Europe, Scandinavia, New Zealand, Australia) are the ones where capitalism appeared and developed earlier than in other parts of the world. That boosted production, country strength and wealth and eventually allowed them to have colonies in other parts of the world. Owning some overseas land gave enormous economic advantages. Remember “British East India Company”, which at its peak of wealth had an army of 160 thousand soldiers (more than some counties had!). The importance of having colonies can be best illustrated by the simple fact – one of the core reasons of the WW I was the desire of Germany, who was late to the table, to have its share of a pie. And even though political power of metropolises over colonies seized in mid-XXth century, economic bounds stayed much longer. If, let’s say, a uranium mine in Uganda belongs to French company, then which country benefits more from it? And to what extent the modern wealth of Europe and North America is due to other parts of the world?
• I doubt that democracy and human rights priority are possible in every country of the world. This idea just occurred to me, so I did not dig deep into finding the proof, but mentality (to put it narrower – religion) could prevent the society from accepting ideas that are just natural for another society. There are some facts I immediately recall that support this idea.

a) Majority of Noble prize winners are from protestant countries. Disproportional majority if you look at country population or wealth or other factors. Why? Maybe because Protestantism urges its followers to read the Bible on their own, whereas in Catholicism you study Bible under the priest’s guidance. Encouragement for independent research must have some effect.
b) After the ancient Rome fell, and Europe lived through the Dark Ages, Arabian countries preserved much of knowledge and science. At that time Arabian East was much more cultural and civilized than Europe. What happened to them later, why they stopped developing science, how could Europe overtake them? One of the explanations is that at some point of time Muslim theologians declared that “Koran has everything”, so scientific research stopped. The legend says that under this slogan the Library of Alexandria has been burnt by Arabian conquerors.
c) There is an interesting correlation between the agricultural conditions in a certain territory and some national traits of character. That’s more than a coincidence. For example, wheat was the main crop in Europe. It doesn’t require any special irrigation, so you can well grow and harvest it alone. That means you are less dependent on other people. Hence smaller states (Germany before mid-XIX century consisted of dozens independent states), hence more independent opinions. Compare it to China. Rice requires serious irrigation works, you’ll never do it alone. In order to harvest rice, you need to organize a fairly large group of people to do a job together. And as the population grows, you need to perform those works at a larger scale, also because the easiest-to-work fields are already busy. As a result, we see that Chinese value the society more than they value an individual. A single person sacrificing his wishes for the good of the others is more acceptable for them than for Europeans.
This idea needs further thinking but it is quite possible that the liberalism and human rights developed in Western Europe to the extent we see due to a unique combination of religion, natural conditions and other factors. And it can’t be copied in other parts of the world. It can be brought to other parts of the world by immigration of people with European mentality, of course. But otherwise it can be done only by complete mentality change of local inhabitants. Not an easy task, could take generations and mean death of local culture.

1. All people are seeking freedom and democracy, so it is our duty to help them achieve this goal. If some part of the society resists this help, it is the tyrannical part and it should be eliminated.

Yeah, really. Take up the White Man's burden… This idea is not dead yet, with all its prejudices.
In some part such understanding is based on the theory that appeared in history (history as a science!) in the UK in 18th century. This theory states that the process of human society development over time is a) linear and b) goes through the same stages in every society of the planet. One of the consequences of this theory was the statement that every society started from matriarchate – researchers came across some primitive society, ruled by women, and made their conclusion. This theory has long been proved wrong, but its influence is still alive.
Even if we accept that all countries, all societies are aiming at maximizing human rights, how justified will interference be? Good intentions are the pathway to hell. How long it took Anglo-Saxon civilization to reach modern state of human rights? Setting the Magna Carts as the starting point, it is a bit over 800 years, roughly 30 generations. Looking at the world history, we see how slowly societies change their organizational forms, evolving one into another. And you can’t forcefully speed it up. Imagine that our modern “crusaders of democracy” take time machine and show up at Hastings early in the morning on October 14th, 1066. “William, Harold, there is no need to fight. You need to run democratic elections, and everything will be ok…” Will they even understand the idea??? And what will happen the next day after they are left alone?
You have shown significant interest in Russian culture. If you care spending some more time on Russian books, I’d recommend you brothers Strugatsky (https://en.wikipedia.org/wiki/Arkady_and_Boris_Strugatsky). The form of what they have written is science fiction, but the contents is all about ethics, morale, responsibility, conscience. Try «Escape Attempt», «Hard to be a God», «Overburdened with Evil».
Why I am mentioning them now is because among others they are exploring the topic of “progressors” – people from Earth of XXII century who try to speed up the history of other planets, to solve their problems, stop wars, etc. And it doesn’t end well. As one of their heroes says, “You can’t break up the natural course of history without breaking the spine of humanity.”
It’s hard to find examples of good revolutions when they are initiated from abroad. Change of regime should be supported by majority within the country – it is the guarantee that society is ready for it. What Anglo-Saxons and NATO frequently do is supporting the angry minority in its aspirations for power. And instead of peace, freedom and prosperity it brings chaos. The classic example is Libya. Over 10 years ago the country was “spared of Gaddafi’s tyrannical rule”… How do they live now? The GDP is still around 50% of what it used to be, the country is still not at peace, there are two major forces each claiming to be the legal power. How many lives it did cost already and how much time it will take free Libya to recover? Can such liberation be called anything but a disservice? In Russia we call it “bear’s help”. I don’t say that everything was good in the country when Gaddafi was alive, but aren’t they in the worse situation now?
The whole series of Arabian spring looks like a great mess, not a great success. I rely on the opinion of an expert – below is the brief translation of an article published in 2015-2016 by Mordechai Kedar, an Israeli scholar of Arab culture and a lecturer at Bar-Ilan University. I can’t find the original, unfortunately.
December 2015 was the fifth anniversary of the events known as an ‘Arabian spring’. The world applauded the heroes of the streets in Tunis, Egypt, Libya, Syria, Yemen, Bahrain. Now, five years ago, those countries are still battlefields, with no light ahead. What problems have prevented them from positive development? Most of them have developed over centuries and they still prevail in mentality, remaining the dangerous rudiment.

1. Tribalism*, that was always a survival factor in harsh natural conditions of the region. Now the conditions are different but mentality is still the same, when each person thinks of himself as a member of the clan first (family, tribe, tape, whatever…), not the citizen of the country.*
2. Violence*. Resources are scarce, so anyone who is not the member of my clan, is a deadly threat. And the first reaction to a threat is violence.*
3. Honour*, understood very specifically. Dishonoured person will seek revenge. It is not uncommon for a person to kill members of his own family if they dishonoured him. Honour is of primary importance in relations between countries and nations, sometimes more important than economics and healthcare.*
4. Nepotism*, which has its roots in tribalism. Promoting your relatives to administrative positions is illegal in the West, but is part of normal practice in the East.*
5. Corruption*. An office holder will invest in projects and regions where his tribe and supporters live, not otherwise. He feels financially responsible to his family, not to the country.*
6. Multiple ethnic groups*, which protect their own languages and traditions. Marriages outside of a group are rare, coexistence with other groups is tense and hostile.*
7. Islam*. Islamic extremists are sure that people who believe otherwise, are deserved to be killed.*
8. Sunnites vs*.* shiites*. This conflict started back in 7th century as a conflict for control over Islam. Non-Islamic people see them analogous to Catholicism vs. Orthodox church, but in reality now, after centuries of religious wars, these are two separate religions, and the dialogue between them is very difficult.*
9. Predominant culture*. Three main groups are Bedouins who live in deserts, fellahs who are the peasants, and inhabitants of the cities. Each group thinks stereotypically of other two, cross-marriages are rare.*
10. Country borders*. British, French and Italian administration have been drawn the borders straight, just by a ruler and a pencil, paying no attention to the real borders between various groups which differ by religion and ethnicity. People who never thought about themselves as about having anything in common, are now the citizens of one country. And they don’t feel it this way.*
11. Power change*. This is something which never happens peacefully in Arabic countries. The ethnic or religious group at power holds to it by all means.*
12. Israel*. Arabs and Muslims don’t acknowledge Judaism as a live religion, Jewish people as a people. So for them the very existence of Israel is illegal. Plus Israel is very convenient as an external enemy, a good target for the aggression of the masses.*
13. Oil has turned the countries of the Gulf into societies which don’t produce, but do consume without limits. The difference between wealth of the Gulf and poverty of other Arabian countries is shocking.
14. West that interferes into the region to solve its own problems. Oil, gas, weapons – all is targeted to use natural resources of Middle East.
15. Al Jazeera as a catalyst of social and religious unrest.

Throughout the XX-th century Europe tries to solve myriads of cultural problems of the Middle East, trying to create modern Arabic states that will fit Europe’s needs. The brightest example of Western misunderstanding of the East is the belief that Middle east can easily adopt democracy. Western democracy is based on western culture with equality of religious and social groups, minority rights, freedom of speech and opinions. Add to it religious freedom and free elections and you will get the list that is absolutely alien to Middle East.
Here’s an article by the same author on the same topic – https://fathomjournal.org/why-we-keep-getting-the-middle-east-wrong/
Here’s an interview with him – https://chicagopolicyreview.org/2015/07/28/americans-still-dont-understand-the-middle-east-this-man-wants-to-help/
In one of your interviews you discussed the competition between China and the US for influence in Africa. And your opinion was that China wins due to corruption of local elites. Let me offer another reason for your consideration. It is the same reason that allows Russia to gain influence in Middle East, Africa, South America. When China or Russia come to some country to cooperate, they come to cooperate, not to teach, not to judge, not to interfere into the internal affairs of the state. And people appreciate this.

1. We have the right to decide who is democratic and who is not.

This one is undoubtedly wrong. As a psychologist, you can diagnose it, I guess. What will you call such mental blindness, when a person considers himself flawless and assumes the right to judge and punish others, like in “The House of Pride” by Jack London. And here we see a group of countries that consider themselves the best in the world, that judge other countries and feel it righteous to interfere into their life, to change it without being asked. I understand why leaders of these countries have that blindness, but I wonder how many people in these countries actually understand that it is not a radiant crusade for democracy, but a destructive raid of Normans.
De furore Normannorum libera nos, Domine.
One of the principles of democracy is separation of three powers – legislative, judicial and executive. So why then countries that consider themselves “leaders of democratic world” forget about this principle in international relations. They make the rules, they judge and they punish.
One of American diplomats said recently that USA supports international rules-based order. Sounds good, sounds undoubtedly right. But why USA and NATO forget about the rules when it is convenient? Or is it “We support international rules-based order, but our own actions should not be limited by these rules”? What immediately comes to my mind without web search:

• Kosovo, 1999. Civil war or genocide or whatever it may be called. How it should have been handled according to the rules? UN Security Council makes the decision, ‘blue helmets’ move in and stop the hot phase of the conflict. How it was done? NATO forces moved in without UNSC mandate. Forget the rules.
• Iraq, 2003. USA and its allies invaded Iraq based on false claims that Saddam had mass destruction weapons. The Center for Public Integrity stated that the Bush administration made a total of 935 false statements between 2001 and 2003 about Iraq's alleged threat to the United States. International lies-based order?

Double standards
Speaking more about the rules… We are tired of seeing double standards. As an illustration, I will use just one aspect – the principle of integrity of the state vs the principle of the right of nations to self-determination. It looks like the West supports integrity of the state, when this state is allied or friendly to the West, and supports nation’s self-determination when the state is not. Let’s go through some examples.
- Chechnya (an autonomous republic within Soviet Union) wanted to become independent after 1991. It quickly started to use terrorism to achieve this goal. It took a lot of effort to stop the war and bring the region back to safety. Reaction of the West – support of chechens, their leader fled to London and was not deported to Russia despite all requests.
- Abkhazia (an autonomous republic within Georgian republic which was part of Soviet Union) wanted to become independent from Georgia when Georgia became independent from Russia. Resulted in a war. The conflict is still not solved. Abkhazia now is an independent state which is acknowledged by very few countries in the world. Reaction of the West – they still consider Abkhazia as a rebellious part of Georgia. Same situation about South Osetia – another region, that was an administrative part of Georgia until 1991 and that also seeks independence.
- Donetsk and Lugansk wanted to become independent from Ukraine after 2014 coup. Ukraine tried to subdue them by force and failed. Then the workplan has been signed in Minsk – what the parties of the conflict agree to do to settle. The result should have been – Donetsk and Lugansk return to Ukraine but have extended political rights, etc. Ukraine did nothing of its promises. Reaction of the West – support of Ukraine.
- Catalonia is seeking independence. And I remember that leaders of independence movement have been under political and criminal pressure.
- Scotland had a referendum about independence. And even though results were in favour of the UK, I remember how nervously London reacted.
Russia – NATO relations after 1991
This is best said by Vladimir Pozner, a journalist who spent years of his work in the USA, Russia, Europe and is one of the most known journalists of the old school (comparing to modern propagandists). Here’s the link to his speech in Yale University on September 27, 2018 – https://www.youtube.com/watch?v=8X7Ng75e5gQ&t=2556s.
His speech takes around forty minutes, the rest is the Q&A. To save you time, I’d summarize it here in just a couple of phrases. After Soviet Union collapsed, there was an illusion that we aren’t enemies anymore, that the world is open now, and that we will be partners or even friends. Russia dismissed the Warsaw Treaty union and agreed for Germany to unite, that looked just right – why keep a military union when we aren’t enemies anymore? Sometime later Russia made an offer to join NATO to provide world security together and was denied. Russia offered to join the EU, and was denied. Russia was promised that NATO would not expand eastward and less than 10 years later this promise was broken. Since then, we’ve been witnessing NATO getting closer and closer to our borders, inviting countries that are our neighbours and aggressively supporting those candidates to country leadership in East Europe who declared anti-Russia views. So now the illusion is over. We are enemies. And what’s worse – we don’t trust US anymore, so negotiating some new principles of coexistence will be problematic.
Ukraine.
Briefly about history, in more details about recent times and present situation.
In 16-17th century the territory of modern Ukraine was controlled by two forces with no clear border between them. Northwest (where the city of Lvov is now) was under Polish rule, center and the region along river Dnepr – under control of “kazak military democracies” – gatherings of all people, who fled from Russia, Poland, Lithuania, Crimea and who with time formed Ukrainians as a nation. They were ruled by elected chieftains and made their living largely by either joining some military campaign for money and loot, or by robbery raids to Poland, Crimea, Turkey. They were allied to Russia due to same religion – Orthodox Christianity.
As Poland grew stronger, its pressure on the territory grew, which led to periodic rebellions. Poland is a Catholic state, and people of Orthodox Ukraine were severely oppressed. Seeking protection, Ukrainian chieftains asked Russia to include those territories into Russian state. First request came in 1591. Russia rejected this request and several others. Only in 1654 part of Ukraine, controlled by kazaks, was included into Russia. Consequences – war with Poland and tens of thousands orthodox people fleeing from Polish-controlled lands into Russian-controlled lands.
From then on Russians and Ukrainians were really ‘brother nations’. Well, it was not heaven, but it was the best available option. Same religion, very close language and mentality. And forget about oppression. Ukrainians were oppressed as much as Russians themselves.
When the WW I started, Germany and Austria-Hungary were looking for collaborators in occupied territories of Russian Empire. They promised independence to nationalists in Western Ukraine, and found people who bought the idea. Not surprisingly, the most dedicated nationalists came from the least developed region of the country. Ukraine did not become independent at that moment, but the ideas stayed and gave their fruit during WW II, when Ukrainian collaborators actively participated in Nazis’ crimes. In one of your videos you described what Unit 731 of Japanese army was doing and you warned your listeners that they will never forget it. If you will find and read witnesses’ accounts of Volhynia massacre, you will never forget it either. I read it once long ago and I never want to read it again. It was a shock to me that people are capable of such things.
In the period between 1945 and 1991 Ukraine had the same rights as any other republic. There were no impediments to preserving and developing local culture. If you lived in any republic, you learned two languages – Russian and local. National literature was actively translated into other national languages of the Soviet Union, there were no impediments to education. Soviet Union with all its flaws, really tried to unite all of its nations into one big family. (What surprises me though is why antisemitism remained. You could come from Georgia, Uzbekistan or Yakutia and pass exams to Moscow university, no problem if you are smart enough. But it could be problematic for a Jew…)
After 1991 Russia and Ukraine remained friendly states, tightly bound by economic, cultural and even family ties. Ukraine tried to get the most out of relations both with Russia and with the West and it worked fairly well for 30 years. But with time attempts to elevate significance of their own nation led Ukrainians down a dangerous path. They started to slowly eliminate all other cultures that were present in the country. This process sped up dramatically in 2014, when after a coup the nationalist forces gained influence on the government.
Official Kiev denies being nationalistic, but don’t trust what the person is saying, see what he is doing.

• Open Kiev map and you will find two prospects – one named after Bandera, another after Shukhevich. Those two stand behind Volhynia massacre and numerous other crimes. Now they are heroes.
• During WW II Ukrainian nationalists were gathered by Nazis into the division “Galicia”. Collaborators and traitors, they did not show much on the battlefield, but were always victorious in the punitive raids against civilians. Now they are heroes.
• Ukraine is banning and denying Russian language and Russian culture. And it did not start last year. It started much earlier, when bit by bit Russian-speaking people had more and more difficulties teaching their children in Russian, buying books in Russian. It even shows itself historically – famous writers, artists, musicians, etc. of the past are proclaimed Ukrainians if they were born or lived on the territory of modern Ukraine. Aivazovskiy was Armenian by nation, lived in Crimea which was Russian at the time. Repin was Russian, Kuingi was Greek. Gogol and Bulgakov called themselves Russian and wrote in Russian. Shevchenko wrote in Russian, and now his books in Ukraine are translated from Russian.

I live in Moscow region, so all these processes for me were just an echo of a far-away thunder. My friends who lived in Crimea, Kiev, Donetsks, Kharkov many times said how difficult it was to live in a country that is so obsessed with its own magnificence that it becomes absurd. Massive renaming of streets, destruction of monuments that signified joint Russian-Ukrainian history, rewriting of history, when traitors and criminals become heroes, heroes become butchers. Anne, daughter to Yaroslav the Wise, wife to Henry I of France is known as Anne de Russie or Anne of Kiev. But now there are attempts to call her Anne of Ukraine, even though the very term Ukraine appeared at least a hundred years after she died.
We see those nationalistic ideas demonstrating themselves in a number of ways, and we have seen them before and we know what threat they can bring if left unattended. Pay attention to a dragon when it is small, you may be unable to win when it grows up.
I don’t say that our perception is correct, I just say how we see it. And to us modern Ukraine is like a younger brother who joined a bad company and who is becoming dangerous.
Now combine these two. Ukrainian nationalism plus NATO. Two threats, one well known historically, another the most dangerous rival of the past 70 years. We see them uniting and it is really an existential threat to us. In such circumstances could we afford being blind to it, just sitting and waiting what comes next? We tried to settle it peacefully. Many times Russia said that we are worried by NATO expansion, that we are worried by Western support of nationalistic movements in our neigbour countries. No effect. The last attempt was made in autumn of 2021, when Putin offered a negotiation that should have resulted in guaranteed safety. No reply.
If there is a conflict and your rival refuses to talk, he is asking for a fight. I don’t say that war in Ukraine is the right way to solve the conflict, but who can say that we did not try to set it by negotiations?

I have some chaos and warcry stuff that I would like to sell or trade for possibly a mutalith vortex beast, any legion specific contemptor dreads (recast ok) excluding DA,TS,AL,IW,SW and NL. Lord of change, new deamon prince.
I can send any closeups that are requested.
Buyer pays shipping for orders under $100. I will pay for shipping on orders over $100. To US
First time making a sale posting here so I think I followed all the rules. But please let me know if I missed anything.
https://imgur.com/a/nDVr8uI
Chaos - 2 Hellbrutes - $30 each 6 Obliterators (2 metal) - $40 Defiler - $40 Wall of martyr bunker customized - $35 Old Typhus - $25 Standard rhino - $15 19 Oop chaos warriors most painted as nurgle. Couple missing bases -$75 Kranon-$30 10 Chaos cultist- $25 12 OOP chaos chosen from Dark Vengance - $25 per 6 3 Chaos biker - $20 10 Chaos Warptalons - $25 per 5 Random sorcerer - $5 Warpsmith - $15 Oop demon prince - $25 10 Rubric Marines NOS -$40
Warcry starter set. No beastmen but double iron golems painted. Rest is NOS - $200 Corpsewrack Mausoleum built - $100 Cypher lords primed - $30

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