Reasons
He worked in many BPO call centres and was considered a tenured agent
Meaning he knew what he was doing and could be trusted not to **** up
Not all tenured reps were so trustable or blemish free some really ******* up
Getting caught having *** in the security office with the guard watching the CCTV
Spotted raiding the biscuit cabinet that belonged to one of the vendors
Attempting to bribe the client by approaching a rival company to sell secrets
Setting up a rep you don’t like to take the fall for fraud that you actually did
Swing thru the axle of the boss’ Jaguar sports car so he died in a high speed crash
All this and more was done by so called trustable tenured reps over the years
It was an example of what not to be like no matter what the reason or motive

Snake Oil Seller
The magic number is 4 explained the sup
Whose position was higher than his chair
Just add these users to pay a lower connection fee
His word roll off his tongue like oil off a duck
Does the customer know what a snake the sup is?
Already he knows what to spend the cash on
It’s his party trick adding extra users
Get 3 physical phones and 3 virtual ones
And save 20 bucks on the hook up charge
Then pay 120 a month for 4 extra phones
Which are totally not needed with 4 numbers
The business has only 2 workers not 6
This snake of a TL has already been reported
Will this result in further escalations?
The crooked sup is too powerful to flinch
Nothing scares him and he is skilled
A nice guy snake selling snake oil
How far will he fall off his chair?

I ask you, what is math?
What are equations?
Factored life.
I charge it is living,
Senseless pained observations which we must make
So as to live another day, so as not to perish early
And die before a just time;
The degrees of life are right.
Man must stand *****, stiffen your spine,
But remain relaxed.
Straighten out your ethics, your morals;
Never forget from where you came.
Your ancestors, this planet.
That you are just in another herd.
No really different than any other animal,
Only in our intelligence.
Which is itself, a gift.
So give thanks to mother nature.
She could use it

Misery owns me...
Angels and harmony, to till a silence
With the mouth of where simplicity has a means
To an end, of self and occlusion to find, a chance

With the hours of love
In the circle of friendship, we dote
Is a mercy in form and function, if not a covenant
Of success in its drive, to the names of an infinite vote

Strangers of pasts, in the seem?
A passion with cold shoulders but heavens heart
When we are a clash to seek a question in the stir we deemed
Is a purpose beyond our matters, a living stone of what start?

A trying hope, in the needs of mere, than a person justified...
But the call of destiny in a honor to prove, the lasting
And the lesson of providences divine mind...
Where one more soul to take the liberty, outweighs even love to lend

Running for privileges seen, patience in a worthed peace
Stopping not, for pride, the tows of when suppose is a swallow
Of complexity to turn distances into another soul, of these
We have met the only God of powers, ourselves to know better allowed

Misery owes me...
Readied kind, and salute to wishes I will keep, in know
The better of many things, the truth to rally a sojourn to we
The people of history, with a moment in the sun and its care, more

Someone told me,
To water my own grass,
But what they neglected to mention,
Is that my grass is crass.

This is due to my unfortunate past,
Every minute spent kissing ***,
To be walked on and trampled by,
Boots and heels of brass.

So no, I will most certainly not,
Water my own grass,
The thoughts and evaluations,
Of the judgment I pass,
Is necessary and voluntary,
In a sea of largemouth bass.

If I should tell you ‘Bout all that’s not gold,
I won’t be speaking of the dangles on my mother’s neck,
The stud on my sisters’ ear or the rock between her finger.

I rather walk you through society and how we paint it
How we lose sight of reality and view just the glam
How we concentrate on what’s flashy…
and how we don’t see cute to see the ugly, rather view the paint in Awe
and see the pain in ‘gust.
I will tell you how we channel our focus on the big weddings and lose the sight of the bigger picture.

So, if I’m to talk about all that glitters that is not gold, do know these:
I’d be telling you of the painful truth you chose to ignore,
The scandals that come with the big weddings,
The agony masked in smiles, the pain of each like button
How each comment burns like fire.
Would let you in on my mother’s secret,
How her dangles are not real, she also removes her spackling watch before the end of each occasion.
I’d tell you how my sister’s earrings fade daily and insomnia she gets from the rock on her finger.

I will tell you how reality is far from society, and leaves you to face the agony.
So, when you think about a sparkling gold, think about the last trend and those who end with it.
Think about earth and how we rotate with it,
Please think about reality.

I watched “Breakfast at Tiffany’s” last night - we’re going to be reading Truman Capote’s book after the break and I wanted to start thinking about it. The movie rewrites Truman Capote’s story, turning it into a romcom, completely eliminating the book's gay themes. I’d seen ‘Breakfast’ before, but now I’m a little older, and as a single woman, I can better appreciate it. I’m looking forward to studying its socio-****** themes. These are some first thoughts.

Let’s take the opening of “Breakfast at Tiffany’s.” The images are iconic and some of the most widely repeated in pop-culture today (Hello, ubiquitous dorm room decor), but they’re never used in a way consistent with their function in the film. Instead of seeing a horribly depressed girl who has nothing left in her life but pure escapism, people see a beautiful woman with apparent access to luxury.

When “Breakfast” came out (in 1961) there was a sense, within the press and wider public, that even a neutered version of Holly Golightly represented a cinematic moral nadir that posed a threat to society. Whether Holly was a “moral character” was up for debate in countless reviews of the film. Today, this seems absurd.

Today, Holly is seen as an aspirational figure. With her opera gloves, her intricate updo, pearls and Givenchy little black dress, she looks like someone who belongs at Tiffany’s (of course, the casting the euro-elegant Audrey Hepburn didn’t hurt). Truman Capote wanted Marilyn Monroe as Holly - that would have been a very different movie.

Watching the film, I was struck with how contemporary Holly felt. She seems so familiar - so similar to the countless imitations we’ve seen since. People watching the movie for the first time today may be underwhelmed, but Holly seems so contemporary now, because she was so ahead of the curve back then (just over 60 years ago).

If you look at the popular romantic comedies that surrounded ‘Breakfast at Tiffany’s’, like “Pillow talk,’ ‘Gigi,’ and ‘Giget’ - their leading ladies were nothing like Holly. Being a heroine in those films meant you strived for marriage, you saved yourself for your one true love and, as a woman, you avoided certain subjects altogether. They imply happiness only comes from following a certain good girl ethos.

An example of what could happen to a girl, if she strayed from that path, was shown in Elia Kazan’s ‘Splendor in the Grass’ which also came out in ‘61. Its theme is the consequences of ****** repression, and it outlines a specific cinematic binary. There are good girls and bad girls. The bad girls were usually presented as sad and mentally unstable - and they paid for their sins in the end - usually by dying by some karmic punishment (car wrecks usually).

Holly sits somewhere in between good and bad, complicating the cinematic binary. Because Audrey’s elegance plays her as classy, warm and accessible, she doesn’t come across as a dangerous wild child - although she makes all of the bad girl choices - like partying, drinking and having ***.

For women who grew up in the repressive 1950s, Holly represented a new path forward. Holly lived on her own, she didn’t crave marriage above all else, she didn’t want to live in a cage, and she managed to have a good time without being victimized or doomed. Holly was noticeably different. The pill came out in May of 1960 (one of the watershed events in human history). Holly was Hollywood's first post-pill heroine, representing the ****** revolution before Betty Friedan’s ‘Feminine Mystique’.