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Monday, September 28, 2015

Dalam Perhubungan...

Tuesday, September 22, 2015

Pujaan Hati (Kenangan Terindah) Fragmen 1

Pujaan Hati (Kenangan Terindah) Fragmen 1

Cruz melihat wajah Judd lama-lama. Diperhatikannya riak wajah sahabatnya itu. Judd menunduk.Jemarinya bermain dengan straw minuman. Fikiran Judd menerawang. Sesaat, Judd sedar dia diperhatikan. Spontan, dia menyedut air minumannya. Kemudian, dia menggaru kepala.Aish, boleh ‘kantoi’ pula fikirnya. Cruz tersenyum. Tidak lama, Cruz tertawa kecil. Cruz seperti faham apa yang bermain di kotak fikiran sahabatnya itu. “Dah beritahu dia?” tanya Cruz. Judd menggeleng perlahan. Dia mengusap rambutnya. “Judd, mencintai seseorang perlukan keberanian.Kita perlu berani untuk berterus terang.”Cruz memegang bahu Judd. “Tapi, aku takut kepada penolakan Cruz,” kata Judd. “Judd, kita sebagai lelaki harus bersedia untuk menerima sebarang kemungkinan,” jelas Cruz. “Maksud kau?” tanya Judd. “Judd, tugas lelaki adalah memikat dan wanita berhak untuk memilih. Asalkan kita sudah berterus terang, sekurang-kurangnya dia teruja dengan keberanian kita walaupun akhirnya kita tetap ditolak,” kata Cruz lagi. “Tugas lelaki adalah memikat, dan wanita berhak untuk memilih.Kata-kata itu hebat Cruz.Mana kau dapat?”tanya Judd. “Aku ambil dari novel.Dah, jangan kau fikir lagi.Habiskan minuman kau tu.Malam ni kau mimpi yang baik-baik.Esok, aku aturkan masa agar kau dapat bersama dengan dia.Waktu tu kau luahkan apa yang terbuku dalam hati kau, okay?” Rangsang Cruz. “Terima kasih Cruz,” kata Judd. Cruz menepuk bahu sahabatnya itu. Kasihan dia melihat Judd. Walaupun dalam diam Cruz tahu gadis itu menyukai dirinya, namun demi sahabat baiknya itu, Cruz sedia berundur.Ada alasan kukuh untuk dia berbuat begitu.Jangan risau Judd, aku akan satukan kamu berdua, bisik hatinya.


Monday, September 14, 2015

How to Use Psychology to Increase Your Chances of Getting Hired

How to Use Psychology to Increase Your Chances of Getting Hired

9 Science-Backed Job Interview Tips

1. Use “power-priming tactics.” In a job interview experiment where one group of applicants were asked to focus on a time in which they felt in control and empowered in their lives, and another group was instructed to reflect on a time when they felt disempowered, it was the first group - the power-primed group - that succeeded. Interviewers chose the power-primed group over the other group at a significantly higher rate.
Before your next interview, think about a time in your life when you felt successful and empowered - work-related, or personal - to increase your chances of getting hired.

2. Smile, but not too much. You should always be friendly and polite, but be serious when you need to be. In one study, candidates who smiled more at the beginning and end of the interview, and less in the middle — when they were focused on answering questions — did better than those who smiled, continuously, throughout.

Here’s how to use your personality to shine at a job interview.

3. Use your interviewer’s name. Not only can using your interviewer’s first name help you remember it, but it’s also a proven way to make them feel more positive about you. Of course, don’t overuse it, but do drop it in a few times.

4. Practice “reflective listening.” Reflective listening is when you repeat back your interviewer’s statement or question in your own words. Studies have shown that reflective listening can increase your chances of getting hired, as it demonstrates a comprehensive understanding of what the interviewer is trying to communicate, and may also make your interviewer feel more positive about you.

Here’s an example of how you can use reflective listening in a job interview:
Interviewer: “This position requires a writer who won’t have a problem covering a political story one day, a celebrity gossip piece the next, and can do both of them well, and willingly. How does this sound?”
You: “So, you’re looking for a versatile writer who’s enthusiastic and up for anything. That’s exactly how I would describe myself. As you can see from my clips, I’ve done everything from travel writing to investigative journalism, so I believe I’d be a great fit for this job.”

5. Keep your hands warm and dry. It might sound weird, but think about it. Cold and clammy hands are a sign of anxiety. Therefore, warm and dry hands suggest the opposite. Before you interview, if you’re coming in from hot temperatures, be sure to wipe off any sweat, and if you’re coming in from the cold, make sure your handshake isn’t icy!
Learn more about: How to Avoid Interview Stress

6. Try mirroring, but stay positive. Mirroring is when you mimic a person’s body language: they smile, you smile. They use hand gestures, you use hand gestures. Research has shown that mirroring can increase your chance of success in an interview, and in many interactions, people “mirror” each other without even trying. This is something to be careful about. In a study where interviewers were distant and aloof, interviewees who mirrored their body language were less likely to be hired than those who stayed positive no matter what. 

7. Be mindful of your body language. It’s been said time and time again, but study after study has shown just how important nonverbal communication can be. When you’re in a job interview, use positive nonverbal behavior. According to research findings, you should:
·         Show a high level of energy and enthusiasm
·         Keep a positive expression on your face
·         Maintain a high level of eye contact
·         Nod to show understanding
·         Use subtle hand gestures when speaking
·         Lean towards your interviewer, but maintain appropriate personal space
·         Vary your tone of voice so as not to speak in a monotone

8. Consider the Construal Level Theory. According to the Construal Level Theory, the farther away you are from an object or person, the more abstract your thinking will be. The closer you are, the more concrete your thinking will be. An often used example is a summer vacation: six months out, in the winter, you’re daydreaming about sunshine and sand. Six days out, you’re planning specifics, like making restaurant reservations or nailing down your itinerary.
Researchers tested the theory in an experiment where they had applicants sit either close or far from interviewers, and then either promote themselves in concrete or abstract ways. The results were in line with CLT: applicants who sat close and discussed specific attributes or instances were most successful, as were applicants who sat far away and emphasized more abstract qualities, like their soft skills
What does this mean for your interview? Well, providing specifics is always a good thing to do in an interview. But, if you find yourself seated far from your interviewer, take care to mention some soft skills, too - for example, your “strong work ethic” or “superior time management skills.”

9. Don’t interrupt. Interrupting someone elicits negative feelings. Never interrupt your interviewer, even when you think that finishing their sentence will show that you’re on the same page.

Sunday, September 13, 2015

Antara Dua Buah Desa

Adakah penantian itu memberikan harapan,
Atau sekadar satu penyiksaan?

Antara DUA Buah Desa~

Aku tetap di sini,
di kerusi ini,
menunggu mu...
berteman bebunga dan dedaun gugur,
sehingga aku tiada...
bisakah aku bertemu dengan mu?
Tetap menunggu,
Sehingga aku tiada.
Dan, kau...
Akan kembali, bukan?

Friday, September 11, 2015

Creativeneuron is coming back again! Click

Creativeneuron is coming back again. Go to this site

Tuesday, September 8, 2015

The Crash Near Roswell

The Crash Near Roswell
An unidentified flying object crashed on a ranch northwest of Roswell, New Mexico, sometime during the first week of July 1947.

Rancher W.W. “Mack” Brazel said later he found debris from the crash as he and the son of Floyd and Loretta Proctor rode their horses out to check on sheep after a fierce thunderstorm the night before. Brazel said that as they rode along, he began to notice unusual pieces of what seemed to be metal debris scattered over a large area. Upon further inspection, he said, he saw a shallow trench several hundred feet long had been gouged into the ground.
Brazel said he was struck by the unusual properties of the debris and, after dragging large pieces of it to a shed, he took some of it over to show the Proctors.
Mrs. Proctor, who later moved from the ranch to a house closer to town, said she remembers Brazel showing up with the strange material.

The Proctors told Brazel he might be holding wreckage from an alien spacecraft — a number of UFO sightings had been reported in the United States that summer — or a government project, and that he should report the incident to Chaves County Sheriff George Wilcox.
A day or two later, Brazel drove into Roswell, the county seat, and reported the incident to Wilcox, who reported it to Maj. Jesse Marcel, intelligence officer for the 509th Bomb Group, stationed at Roswell Army Air Field.
In their book, A History of UFO Crashes, UFO researchers Don Schmitt and Kevin Randle say their research shows military radar had been tracking an unidentified flying object in the skies over southern New Mexico for four days. On the night of July 4, 1947, radar indicated the object had gone down about 30-40 miles northwest of Roswell.

The book says eyewitness William Woody, who lived east of Roswell, said he remembered being outside with his father the night of July 4, 1947, when he saw a brilliant object plunge to the ground.
The debris site was closed for several days while the wreckage was cleared, and Schmitt and Randle say that when Woody and his father tried to locate the area of the crash they had seen, Woody said they were stopped by military personnel who ordered them out of the area.

Schmitt and Randle say Marcel, after receiving the call from Wilcox and subsequent orders from Col. William Blanchard, 509th commanding officer, went to investigate Brazel’s report. Marcel and Capt. Sheridan Cavitt, senior Counter Intelligence Corps (CIC) agent, followed the rancher off-road to his place. They spent the night there and Marcel inspected a large piece of debris Brazel had dragged from the pasture.
Monday morning, July 7, Marcel took his first step onto the debris field. Marcel would remark later that “something ... must have exploded above the ground and fell.” As Brazel, Cavitt and Marcel inspected the field, Marcel was able to “determine which direction it came from, and which direction it was heading. It was in the pattern ... you could tell where it started out and where it ended by how it was thinned out …”

According to Marcel, the debris was “strewn over a wide area, I guess maybe three-quarters of a mile long and a few hundred feet wide.” Scattered in the debris were small bits of metal that Marcel held a cigarette lighter to to see if it would burn.
Along with the metal, Marcel described weightless “I”-beam-like structures that were three-eights inch by one-quarter inch, none of them very long, that would neither bend nor break. Some of these “I”-beams had indecipherable characters along the length, in two colors. Marcel also described metal debris the thickness of tinfoil that was indestructible.

After gathering enough debris to fill his staff car, Marcel decided to stop by his home on the way back to the base so he could show his family the unusual debris. He’d never seen anything quite like it.

“I didn't know what we were picking up,” he said. “I still don't know what it was ... It could not have been part of an aircraft, not part of any kind of weather balloon or experimental balloon ... I’ve seen rockets ... sent up at the White Sands Testing Grounds. It definitely was not part of an aircraft or missile or rocket.”
Under hypnosis conducted by Dr. John Watkins in May 1990, Jesse Marcel Jr. remembered being awakened by his father that night and following him outside to help carry in a large box filled with debris. Once inside, they emptied the contents of the debris onto the kitchen floor.
Jesse Jr. described the lead foil and “I”-beams. Under hypnosis, he recalled the writing on the “I”-beams as “Purple. Strange. Never saw anything like it ... different geometric shapes, leaves and circles.”

Under questioning, he said the symbols were shiny purple and they were small. There were many separate figures. This too, under hypnosis: [Marcel Sr. was saying it was a flying saucer] “I ask him what a flying saucer is. I don't know what a flying saucer is ... It’s a ship. [Dad’s] excited!”
Marcel reported what he found to Blanchard, showing him pieces of the wreckage, none of which looked like anything Blanchard had ever seen.

Meanwhile, Glenn Dennis, a young mortician working at Ballard Funeral Home, received some curious calls one afternoon from the RAAF morgue. The base’s mortuary officer was trying to get hold of some small, hermetically sealed coffins and also wanted to know how to preserve bodies that had been exposed to the elements for a few days and avoid contaminating the tissue.
Dennis later said that evening he drove to the base hospital, where he saw large pieces of wreckage with strange engravings on one of the pieces sticking out of the back of a military ambulance. He entered the hospital and was visiting with a nurse he knew when suddenly he was threatened by military police and forced to leave.

The next day, Dennis met with the nurse, who told him about bodies discovered with the wreckage and drew pictures of them on a prescription pad. Within a few days she was transferred to England; her whereabouts remain unknown.

Roswell Army Air Field Press Release
At 11 a.m., July 8, 1947, Lt. Walter Haut, RAAF public information officer, finished a press release Blanchard had ordered him to write, stating that the wreckage of a crashed disk had been recovered.
He gave copies to the two radio stations and both of the local newspapers. By 2:26 p.m., the story was on The Associated Press wire:

“The Army Air Forces here today announced a flying disk had been found.”

As calls began to pour into the base from all over the world, Lt. Robert Shirkey watched as MPs carried loaded wreckage onto a C-54 from the First Transport Unit.
To get a better look, Shirkey stepped around Col. Blanchard, who was irritated with all of the calls coming into the base. Blanchard decided to travel out to the debris field and left instructions that he'd gone on leave.

Headquarters Gets Involved
Blanchard had sent Marcel to Fort Worth Army Air Field (later Carswell Air Force Base) to report to Brig. Gen. Roger M. Ramey, commanding officer of the 8th Air Force.

Marcel told Haut years later that he’d taken some of the debris into Ramey's office to show him what had been found. The material was displayed on Ramey's desk for the general when he returned.
Upon his return, Ramey wanted to see the exact location of the debris field, so he and Marcel went to the map room down the hall — but when they returned, the wreckage that had been placed on the desk was gone and a weather balloon was spread out on the floor. Maj. Charles A. Cashon took the now-famous photo of Marcel with the weather balloon in Ramey's office.

It was then reported that Ramey recognized the remains as part of a weather balloon. Brig. Gen. Thomas DuBose, the chief of staff of the 8th Air Force, said, “[It] was a cover story. The whole balloon part of it. That was the part of the story we were told to give to the public and news and that was it.”
Later that afternoon, Haut’s original press release was rescinded and an officer from the base retrieved all of the copies from the radio stations and newspaper offices. The next day, July 9, a second press release was issued stating that the 509th Bomb Group had mistakenly identified a weather balloon as wreckage of a flying saucer.

On July 9, as reports went out that the crashed object was actually a weather balloon, cleanup crews were busily clearing the debris. Bud Payne, a rancher at Corona, was trying to round up a stray when he was spotted by the military and carried off the Foster ranch. Broadcaster Judd Roberts and Walt Whitmore were turned away as they approached the debris field.

As the wreckage was brought to the base, it was crated and stored in a hangar.
Back in town, Walt Whitmore and Lyman Strickland saw their friend, Mack Brazel, who was being escorted to the Roswell Daily Record by three military officers. He ignored Whitmore and Strickland, which was not at all like Mack, and once he got to the Roswell Daily Record offices, he changed his story. He now claimed to have found the debris on June 14. Brazel also mentioned that he’d found weather observation devices on two other occasions, but what he found this time was no weather balloon.

The Las Vegas Review Journal, along with dozens of other newspapers, carried the AP story:

“Reports of flying saucers whizzing through the sky fell off sharply today as the Army and the Navy began a concentrated campaign to stop the rumors.”

The story also reported that AAF Headquarters in Washington had “delivered a blistering rebuke to officers at Roswell.”

The military has tried to convince the news media from that day forward that the object found near Roswell was nothing more than a weather balloon.

3 Types Of Rhythm You Can Create Visually

3 Types Of Rhythm You Can Create Visually
As soon as you place more than one element on the page you create a pattern and pattern is the seed of rhythm. Whether or not you plan for it, your design will have rhythm running through it. Rhythm activates space. Rhythm creates mood. Rhythm can lead visitors through
your design.
Rhythm is one of the essential principles we have to work with. It’s a word you know, but perhaps one you don’t associate with design. What is rhythm in the context of visual elements and how do we create it?

What is Rhythm?
Rhythm is a regular and repeated pattern, usually of sound or movement. When you think rhythm music is probably the first thing that comes to mind. In music, rhythm is created by alternating sound and non-sound over time. When notes and chords are played in predictable intervals we get rhythm.
How do we define rhythm visually? As a design principle we can say rhythm is the patterned repetition of elements in space. We place elements on the page and experience the intervals between them. Time enters as our eye moves from one element to the next and through this rhythm in space and time we can create a sense of organized movement similar to a musical beat.

There are a variety of places where you can find rhythm.

music — patterns of sound over timed intervals
dance — patterns of movement and gesture through physical space
speech — patterns of cadence in spoken words
writing — patterns of cadence written words
painting — patterns of brush stroke, color, shape, on a canvas
Notice the repetition of the word “patterns” in the list above. Pattern is essential to rhythm. So is repetition. The list above creates a rhythm though repetition. Visually each list item begins with a bullet. The bullet is then followed by a single bolded word, an mdash, and the words “patterns of.” Were I to add another item to the list you would expect it to follow the same predictable pattern.
Notice too, the slight variations created with the length of each line and by the links in a couple of the list items. These variations help break the monotony and add surprise and interest to the rhythm.

3 Types of Rhythm
In design we alternate the positive element with negative space to create patterns, which we then repeat and vary to create rhythm. We create rhythm through:
repetition which creates patterns through predictability
alternation which creates patterns through contrasting pairs (thick/thin, dark/light)
gradation which creates patterns through a progression of regular steps
We’re creating rhythm almost immediately after we begin designing. it’s inevitable once multiple elements appear on the screen. We’d like that rhythm to be a little more planned instead of placing elements randomly though. There are 3 primary types of rhythm you can plan for.

1.Regular rhythm
2.Flowing rhythm
3.Progressive rhythm

Regular rhythm — occurs when the intervals between elements, or the elements themselves, are similar in size or length. Regular rhythm repeats the elements over a predictable interval. Typically both interval and elements are consistent, though one or the other can be varied. The sameness of a regular rhythm creates a less interesting (though not necessarily boring) rhythm.

The regular placement of the same element is usually in a linear path. You can repeat color, shape, pattern or another characteristic of the element over a regular interval. To add more interest you can vary the interval (the space), which changes the pace of the rhythm.
You can also vary the characteristics of the element. You can keep size and shape constant while varying color or keep color and shape consistent while varying size. This variation adds some complexity, but also interest to the rhythm.

Flowing rhythm — occurs when the elements or interval are organic. The organic and natural patterns are used to create a feeling of movement. The elements could be organic over each interval or the interval itself could be organic.

Typically the element is unique, though similar, over each interval. A good example are the stripes on a tiger or zebra. No stripe is quite like the next. Seen together they create a rhythm of natural movement.

Progressive rhythm — occurs when a sequence of forms or shapes is shown through a progression of steps. Here the elements repeat over an interval, but with more variation, usually in progressive steps.

Size, shape or color of the element might have stepped changes over each interval or the interval itself might vary. The steps should be progressive. The characteristics of the element should gradually increase or decrease creating a sense of direction over the sequence. The variation leads to more interest and visual tension and tends to direct the eye along the progression.
A color gradient is an example of a progressive rhythm. Gradually decreasing the size of an element as it recedes into the background is another. The latter creates linear perspective directing your eye to a vanishing point.
As a general rule you can add interest to rhythmic patterns by adding emphasis or contrast that interrupt the pattern at times. This could be a contrasting shape or color or drastically changing the size of one element.
Emphasis through contrast sets the element apart from the pattern and momentarily breaks the rhythm. It can be used to control how the eye flows through the rhythm. More emphasis on a single element makes the eye pause on it before continuing. Too much contrast of this kind can lead to discordance and chaos.
Repetition can also be used to create emphasis through sheer numbers. A lot of local repetition calls attention to the group of elements being repeated.

Whether you plan for it or not, as soon as you place multiple elements on the page your design will exhibit patterns and rhythm. Human beings seek patterns and will naturally see them in your work. We find regular and predictable patterns soothing.

We create rhythm in our designs by repeating and varying patterns over space. A good visual rhythm will lead the eye through a design. The predictability of the rhythm leads to anticipation, which directs visitors to follow.

Variation adds interest to rhythm. It avoids monotony and offers the occasional surprise. The most effective rhythms will provide some unexpected variations.

I’ve talked here about rhythm in more theoretical and abstract terms. I want to pick up the topic again next week talking a little more about the practical side of adding rhythm to our designs.

Monday, September 7, 2015

What Is Friendship? : What It Really Means to Be a Friend

What Is Friendship?
What It Really Means to Be a Friend

When it comes to finding friends, perhaps the first step is understanding what exactly friendship is. Does it mean you have each other in your Facebook list? Or that you see each other every Tuesday when you play racquetball? Not really. A relationship needs to have some key elements in order to be labeled as friendship.

A Personal Relationship That Is Reciprocated
It's not enough to see a person at, say, book group each week and enjoy their company.
In order for a friend to truly be considered a friend, he or she has to also believe you are their friend also.
This can get tricky, because most people have a different idea of what friendship really means. Some people are instantly trusting of new people, and accept them into their heart without question. For these types of folks, they assume someone is their friend until they find out otherwise.

The Difference Between Being Friends and Acting Friendly
Other people, however, might act "friendly" with someone but not consider them a friend for quite a while. Perhaps these types of people need to get know someone better before they even consider labeling them as a friend. Or perhaps they already have a lot of friends and therefore wouldn't consider someone they occasionally at social events a friend.

It's a not perfect world, but in terms of friendship, someone who is genuinely a friend usually:
Has told you that you are a friend or has introduced you as their friend.
Has called or emailed you about meeting for coffee, lunch, etc.
Has done something nice for you.
Is sincerely interested when you talk about your life.
Roots for you and wants the best for you.
Is willing to hang out with you outside of the place you first met (work, social gathering, exercise class).

Friends Are Kind and Act As a Positive Influence in Your Life
It should go without saying that real friends make you feel good, as opposed to bring you down. People who are genuinely your friend put your relationship above being right or trying to feel superior. If someone constantly puts you down, he or she is not a real friend.

However, people have bad days and act imperfect, so there are times when a true friend will be negative or hurt your feelings. The way to determine if they are really a friend (as opposed to something more negative like a frenemy) is to look at the whole of your relationship. Don't look at moments alone, but consider:

How does this person make you feel when you're with them?
Do you look forward to seeing them?
Can you share your joy freely? Or do you feel you need keep quiet about your own good news when you're around them?
If someone is really your friend, they act in a kind manner. They do nice things for you. (If they ask you to do things for them without ever reciprocating, chances are they aren't really a friend.)

Friends don't keep score, but there is a balance to the relationship. Sometimes one friend might be in the "spotlight," while the other is cheering them on. Friends should trade off in giving each other the "floor" in a conversation and in life, and should understand when the moment is their friends and not theirs.

Friends Are People You See on a Regular Basis
The other key component to friendship is a real, face-to-face, relationship. This isn't to say that after you have established a friendship, you can't still be friends with them once they move away. However, in order to have a real friendship, you have to spend time with each other.

While online friendships can serve a place in your life, they aren't the same as a real friendship. To that end, the term "friendship" does get applied to many situations today, from loyal customers to people you don't even know and will never meet. But that doesn't mean these people are truly your friends.

If you need to qualify the definition of a friend in your life (my work friend, my Facebook friend), then chances are it isn't a real friendship, but is instead a different type of relationship.

Sunday, September 6, 2015

The Syrian Refugee Crisis Is Our Children of Men Moment

The Syrian Refugee Crisis Is Our Children of Men Moment

We often use old sci-fi movies as reference points for our own hopes and fears about our present reality. That computer interface is so Minority Report, we might say. That food is something out of Soylent Green. That building is soJetsons. It’s imperfect, but it’s a shorthand to talk about the way that the world is changing, for better and for worse. And given the humanitarian crisis in Syria, it seems our most popular point of reference in the summer of 2015 is the 2006 film Children of Men.

Based on P.D. James’s 1992 novel, the film version of Children of Men takes place in the dystopian world of Britain in 2027. Inexplicably, everyone in the world has become infertile and the planet has descended into chaos. The UK still has a functioning government, but London is a brutal police state where everyone is miserable, yet they’re still trying to live some kind of normal existence. Desperate refugees from around the world flock to Britain, but they’re caged and processed like cattle.
Why then are people in 2015 making comparisons to this movie that’s nearly a decade old? Because it’s hard to tell the difference between the screenshots ofChildren of Men and photos of Syrians seeking refugee status in countries around the world.

Syrians are fleeing to Austria, to Germany, to Sweden, to the UK — they’re going anywhere to search for a better life. Above, we see a photo of a “reception center” in Budapest, Hungary where roughly 300 people escaped today. About 3,000 Syrian refugees were on a train bound for Sopron near the border with Austria before the train was stopped by Hungarian police.

“In the interests of rail travel security the company has decided that until further notice, direct train services from Budapest to western Europe will not be in service,” Hungarian Railways said in a statement.

The fighting in Syria has been going on for four years now. But there’s no end in sight. And as people flee, the scenes of refugees become more and more surreal. Governments set up blockades, police give orders, and fences are set up to keep people in line.

Thursday, September 3, 2015

Neon Kotaraya (Fragmen 1-2)

Neon Kotaraya (Fragmen 1-2)
Fragmen 1
Irvine Kingston ~ dengan langkah malas, aku ambil kunci 'bike'.aku ronda-ronda kota raya.tadi petang, main gitar saja kerja aku. cari 'mood',nak gubah lagu, tapi ilham tak muncul-muncul lagi.kota raya disimbahi cahaya neon.anak-anak muda memenuhi ruang disko.sesak.mereka menari ligat.ada yang menjerit.menggoyang kepala, mengikut rentak muzik.Kelihatan, seorang gadis meliuk lentuk dalam dakapan seorang lelaki.Seperti sudah banyak dia minum.Lelaki itu pula tersengih. melirik. matanya menakal.Seorang lelaki di tepinya, tertawa, dan kemudian memuncungkan bibir.Barangkali rakannya.Anak muda, darah muda.Keliru milih terkadang.Bingit.Kenapa aku ke sini? kerana malam masih muda?

Fragmen 2
Melanie Stewart ~ aku baru terjaga. kepalaku masih berat. seperti tidak terdaya untuk bangun.saat membuka mata, aku mendapati diriku di dalam bilik tidur. aku lihat luas dan mewah, seperti apartment. antara sedar atau tidak peristiwa semalam, yang aku ingat aku pergi ke disko bersama Sarah dan kawan - kawannya, kami minum dan kemudian menari.banyak juga aku minum.aku lihat tubuhku dibaluti gebar.perlahan, aku menarik gebar, dan kemudian aku segera faham.seketika, mataku terpandang sekeping nota di tepi jam meja. [Terima kasih.awak hebat malam tadi.Oh ya, jangan lupa kunci pintu] Dan di atas nota itu terdapat beberapa not duit. 'Damn'...

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