I'm starting to keep
notes. On who I talk to, on their behaviour. Do they stand up to
management? Are they popular? How long have they been here?
There's one woman I've warmed to instantly. She's Bulgarian and her name is Galina.* A tiny mother of two, 36 but looking older; she's got large green eyes, olive skin, and could be Roma. She wears little dangly gold earrings, dark eye makeup and crimson lipstick. She smiles all the time. Genuinely. Some of her teeth are missing and she's vague about her past, but she throws herself into the work, with a swagger almost.
There's one woman I've warmed to instantly. She's Bulgarian and her name is Galina.* A tiny mother of two, 36 but looking older; she's got large green eyes, olive skin, and could be Roma. She wears little dangly gold earrings, dark eye makeup and crimson lipstick. She smiles all the time. Genuinely. Some of her teeth are missing and she's vague about her past, but she throws herself into the work, with a swagger almost.
I like her because she
stops to talk when we pass in the corridor, or if we bump into
eachother on a dash to the pantry for more linen. We swap fatigue
sighs and shaking heads over the empty cupboards, the inevitable
Sunday deluge of D N Ds (Do Not Disturbs) where you push your
trolley from closed door to closed door to closed door....
No linen, a common sight...
Galina has some kind of
rift with Elena, the pretty spiteful supervisor from Lithuania. A
couple of mornings now I've seen Galina shout, in Bulgarian and
broken English, at the icey boss squabbling over baskets of tea gear,
bathroom tat and spare dusters over the counter.
“Hey, HEY”, she's
bellowed to Elena and they've tustled over the tray. “I don't speak
English, why you speak me in English?” Shouts Galina. Elena will
hold back the tray and look at her wearily and disdainfully. Galina
will become animated, eyebrows all over the show, and reach over to
snatch the tray.
“STOP it”, Elena
will say like an icepick, holding it firm.
“Hah? Hah? Yyeeeeah,
Yyeeah”, Galina will say sneeringly, tauntingly, returning the
waves of disgust that could almost be lapping around them right now.
Elena will eventually
give over the tray, but not before raising her hand and pointing hard
on Galina. “The last time, this is the last time”, she will say
in an attempt to rescue her authority but, the girls have all seen
it, and half of us have loved it; Galina's resistance, to the
pettyness, to the humourlessness, of all of this.
I back up Galina by
standing beside her and fixing Elena with a look of, “That's
abusive”, but she barely notices. The term 'face like a slapped
arse' fits her well.
I wish I could speak
Bulgarian.
Over lunch we try and
understand each other, mostly empathising over how much we dislike
Elena, saying her name, wrinkling our faces and giving each other the
thumbs down.
“We need a Union”
She furrows her brow.
I put my hands
together, and clasp my fingers over my knuckles.
“Union?”
It's hard to explain
it.
“Us”, I say, pointing to
me and her and around the sullen canteen. “Us, together”. I make a fist.
She smiles and shrugs
and laughs warmly.
She'd be one to get it
I'm sure. We eat, separately smiling together.
Back in the rooms it's
just non-stop yo-yo-ing in and out. I almost always forget something
and keep clicking in and out, in and out. My knuckles are getting
sore from reaching into my pockets for the card key, reaching deep
into duvets and pillows, the stiff cotton rubbing on my hands, worn by the chemicals and the towel folding and just the constant motion.
A cut I thought had healed on my finger springs a
leak and I'm terrified of getting blood on the perfect white sheets.
I try and continue with toilet paper wrapped around the wound
but it's too risky. I look for a plaster in the pantry, call on the supervisor, and when noone shows up after 10 minutes I eventually
trapse all the way down to the office, 4 floors, and all the while
thinking how this is eating into my allotted cleaning time.
I go through a few
plasters this day, a combination of sweating in the gloves when I
wash up cups and glasses, as well as the dripping sponges and shower
water, and just the constant flurry and contact of my hands.
In the changing room at
home time, I'm one of the last. I've tried to strike up conversations
here but it's not easy. People are partially clothed. Chatting
in your undies and over your steaming sweaty shoes and clammy socks
isn't something I feel that comfortable with. But the four Romanian
room attendants that swing in noisily, pay no mind to my mousey
modesty and shed their grey polyester uniforms to reveal really foxy,
lacy, super-sexy underwear. Like, lingerie catalogue sexy. I
can't help but look. I know I'm blushing. I kind of treat this job as
a workout and wear sports underwear. These women, they're made up
and sassy and laughing amongst themselves. They're barely aware of me
shyly looking over. To me they're a manifestation of resistance to
the drudge; joy and resistance to all the dirt and monotony. Under
the grey there's a riot and they know it.
I want to talk to them
but I know zero Romanian.
I get a text.
“Talk to Jola, the
supervisor, she'll be in in a moment”.
It's from Grzegorz, the
chef....
*All names are changed
for protection
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ReplyDeleteYeah standing up to management isn't always a good idea. I had to learn that one the hard way!
ReplyDeleteBasically, as a general rule, avoiding conflict is best done by sucking up to the people in power imo
ReplyDeletePeople who score high on this trait, conceptualized in 1970 by psychologists Richard Christie and Florence Geis, are callous, unprincipled, and are excessively motivated by self-interest.[37] They view interpersonal manipulation as the key for life success, and behave accordingly.[38] Individuals who are measured to have a high level of Machiavellianism tend to have low agreeableness and conscientiousness.[2][30]
ReplyDeleteIt's these people you have to particularly watch out for!
ReplyDeleteSo you're queen crimson then?
ReplyDeleteFripp would later describe it as having been "an instant smash" and "New York's acid album of 1970" (notwithstanding Fripp and Giles' assertion that the band never used psychedelic drugs).[18] The Who guitarist and composer Pete Townshend called the album "an uncanny masterpiece."[27] The album contains Sinfield's gothic lyrics and its sound was described as having "dark and doom-laden visions".[28][29] Its opening track "21st Century Schizoid Man" was described as "proto-metal" and the song's lyrics criticise the military involvement of the United States in Southeast Asia.[3][30] In contrast to the blues-based hard rock of the contemporary British and American scenes, King Crimson presented a more Europeanised approach that blended antiquity and modernity.[31][32] The band's music drew on a wide range of influences provided by all five group members. These elements included classical music, the psychedelic rock spearheaded by Jimi Hendrix, folk, jazz, military music (partially inspired by McDonald's stint as an army musician) and free improvisation.[3][30][32][27]
ReplyDeleteUpon its release in May 1970, In the Wake of Poseidon reached No. 4 in the UK and No. 31 in the US. It received some criticism from those who thought it sounded too similar to their first album.[43] With no set band to perform the new material, Fripp and Sinfield brought Mel Collins and Gordon Haskell on board (with Haskell doubling as lead vocalist and bassist and Collins quadrupling as saxophonist, flautist, occasional keyboard player, and backing vocalist), and Andy McCulloch joined as drummer.[44][42]
ReplyDeleteFripp and Sinfield wrote the third album, Lizard, themselves – with Haskell, Collins and McCulloch having no say in the direction of the material. In addition to the core band, several session musicians contributed to the Lizard recording, including the returning Keith Tippett, who was offered to be a member of the new lineup, but due to other commitments preferred to continue working with the band as an occasional guest musician,[45] and two members of Tippett's band, Mark Charig on cornet, and Nick Evans on trombone. Robin Miller (on oboe and cor anglais) also appeared, while Jon Anderson of Yes was brought in to sing a section of the album's title track, "Prince Rupert Awakes", which Fripp and Sinfield considered to be outside Haskell's natural range and style. Lizard featured stronger jazz and chamber-classical influences than previous albums.[14][42] The album contains Sinfield's "phantasmagorical" lyrics, including "Happy Family" (an allegory of the break-up of the Beatles),[46] and the title track, a suite which took up the entire second side, describing a medieval/mythological battle and its outcome.[47]
ReplyDelete"It was going to be an interesting ride when ... I wasn't given a setlist when I joined the band, more a reading list. Ouspensky, J. G. Bennett, Gurdjieff and Castaneda were all hot. Wicca, personality changes, low-level magic, pyromancy – all this from the magus in the court of the Crimson King. This was going to be more than three chords and a pint of Guinness."
—Bill Bruford.[62]
What about in the Court of the Crimson Queen, does she not have a say??
ReplyDeleteThe distinctive introduction to "One More Red Nightmare" was deployed by Wetton and Fripp in various improvisations throughout 1974, which can be heard in the Starless and The Road to Red box sets. "Providence" was edited down from a recording of an improvisation on 30 June 1974 in Providence, Rhode Island. It was released in its uncut form as "Improv: Providence" on several subsequent releases, such as the 1992 The Great Deceiver live box set and the 40th anniversary edition of Red.
ReplyDeleteThis supposed incident gave the piece its title, a reference to Sod's law ("Whatever can go wrong will go wrong, at the worst possible moment").[7] : 0:20–1:11 As Robert Fripp noted in the CD jacket, "Most live recording follows the policy of two machines in use simultaneously to meet an eventuality such as this. We learn."
DeleteMaster of Deception!!!
ReplyDeleteOr should I say Vampire Master Dark Crimson!
ReplyDeleteHelen
ReplyDeleteHelen was orphaned by the Clients and was raised by a church minister. She first met Shion and Rain by accident when the pair were looking for hospitality. She fell in love with Shion but was too shy to act on her feelings. Later, the Clients gained control of her and used her to try to kill Shion. Helen wounded Shion, but regained her senses and offered Shion her blood. She is now Shion's companion with Rain.
Like Rain, Helen can turn into armor for Shion, but does not yet have as many abilities as Rain does. Helen also has the power to detect Clients and their minions, and has an exceptionally beautiful singing voice.
Go Helen!
ReplyDeleteLiving Legend!
Deletehttps://en.wikipedia.org/wiki/Q_(magazine)
ReplyDelete